Kristoffer Ørum

Kristoffer Ørum

A programmer who picks the wrong algorithm on purpose.

A documentary practice. Every work here has an address and a date.

Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.

Works with machines that are confidently wrong.

Made by hand, mostly. Cut, cast, sanded, painted.

This text is generated. He decided what it generates from.

These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014

This approach shares a lineage with experimental practices such as Surrealist automatic writing and collage. Watershed, 2025

By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019

Public places became stages for brief moments of shared fiction. Mundane Heroics, 2019

These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022

Anders Bojen and Kristoffer Ørum investigate the hidden systems, routines, and traces that ordinary objects and personal behaviors generate, from domestic habits to browsing histories and household interactions. Day to Day Data, 2008

The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019

The project has been discussed in Vice and elsewhere as a reflection on surveillance, aesthetics and identity in the age of algorithmic vision. Recognised Faces, 2014

Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004

Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016

Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016

The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020

The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010

None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025

The installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017

In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019

It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020

The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021

The sculpture is a giant oyster from a setting where the earth is covered by an endless ocean and people have moved into the oysters, which give them shelter, air, warmth and food. Affluence without abundance, 2025

By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010

On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025

All masks were thoroughly cleaned and sprayed with disinfectant after each user, with lending against deposit such as a driver's license or telephone. According to the Nose, 2021

The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023

Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020

Despite this, they were largely abandoned in favour of commercially driven binary architectures. Diffused States (Boston), 2025

The project also responds critically to the historical metaphors of the human body as a model for political and social order. A Body Has Many Members, 2012

This video asks a question that sits at the heart of our digital lives: how do we appear to a machine? Speaker 1, 2026

Caught between constant computer-generated simulations of destruction and status quo institutions, it becomes difficult to imagine that the welfare state can be replaced by something different and better. Melting State, 2020

A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020

The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019

The work takes up how electronic systems constantly push at our understanding of who we are, our history and context, suggesting that their constant misunderstanding provides opportunities to see the world with fresh eyes. Feathered Misconceptions, 2018

We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025

Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012

The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024

The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020

How might civic memory be shaped not by permanence and power, but by shared breath, transient gatherings, and structures built to dissolve? Monuments of a Fictional Past (Kraków Edition), 2025

Created in 2019, the work was exhibited by Radar Contemporary as an online piece. Vladimir's Tongue, 2020

Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017

From advertising screens on buses to personal mobile phones, we are daily surrounded by lifelike computer-generated representations of physical phenomena. Melting State, 2020

Its on-screen lyrics tell the factual story of a 507-year-old clam killed during the scientific process of determining its age. Djurs Øhav, 2020

Putin's Nose
Putin's Nose See the work →