Kristoffer Ørum
Not research. The works were made first and explained afterwards.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
This text is generated. He decided what it generates from.
A documentary practice. Every work here has an address and a date.
An artist who makes things up about real places.
A lot of it is waiting for a render to finish.
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
Day to Day Data looks at how digital information is embedded in everyday life. Day to Day Data, 2008
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
Local rumours, past dreams, and forgotten figures merge with the town’s documented history across media: an interactive video installation, posters, sound works, and music. Hvidovre Makes Good Times Better, 2025
Invigilators tell stories of events that could have transpired, whilst screens display the construction of monuments that never materialised. Monuments of A Fictitious Past, 2024
The installation examined the concept of the "monstrous machine" - creatures that cross borders and assemble opposing parts, blurring categories to challenge perceptions of ourselves and technology. Signal_Crayfish, 2021
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Several video works were part of the exhibition. Djurs Øhav, 2020
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Central to the work is a fictional universe populated by figures such as Torkild Simonsen, Aarhus' first hip-hop mayor (1982-1997), and Marc Johnston, who relocated Denmark's capital from Copenhagen to Aarhus in 2019. Aarhus'er #1, 2025
It presents language as both infrastructure and interference, existing in plain sight yet obscured within the everyday signals that surround us. Wireless Walnut, 2018
This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014
Rather than scaling towards planetary computation, this speculative trajectory follows a slower, more situated evolution—one in which algorithms adapt to the languages, histories, and needs of their immediate context. Diffused States (Vancouver), 2025
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
On the other hand, these systems are still trained on global datasets full of bias, stereotypes, and inequality. None of These Images Are of Me, 2025
The sculptures were inspired by the role-players' own objects and toolkit, translating elements from their gaming practice into interactive art objects. Everyday Heroes, 2019
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
Mundane Monsters was an interactive digital multimedia exhibition that transformed the gallery at Epsilon Spires into a walk-through experience about the modern relationship between nature and culture. Mundane Monsters, 2022
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
Spray was the third part of a multi-year project that began with "Tank Hip-Hop" at Retro Avantgarde in Kongegaarder and continued with "Freedom, Equality, and Hip-Hop" at Sydhavn Station in November 2023. Mr. Spray, 2024
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
The installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017
Being your own record-keeper means accepting these gaps and changes.
Using computer vision software, a rapping face appears on the plum, following its movements as the lecturer holds it in front of the webcam. Feathered Misconceptions, 2018
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
The industrial spaces provided a striking backdrop for the reimagined objects and performances. Mundane Heroics, 2019
One was an animated video about life inside an oyster. Djurs Øhav, 2020
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
The installation included a manipulated deep fake video featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Hollow but convincing memories of the potential of what was before, not unlike 3d architectural renderings whose apparent realism hides the hollow and malleable nature of 3d graphics. Brownfield Wonderland, 2022
By framing the narrative as a myth, the artists connected the story of The Ballehage Woman to broader experiences of people excluded from society due to norms around appearance and behavior in Denmark. The Ballehage Woman, 2009
The work forms part of De Tabte Runesten, a group exhibition returning nine lost cultural artefacts to Rundetaarn through the visions of contemporary artists. The Good, the Lost, and the Beautiful, 2025
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019