Kristoffer Ørum
Science fiction, set last week.
A record-keeper. The website is the work.
Some of it only exists as a photograph now.
A documentary practice. Every work here has an address and a date.
Solitary. One person decides what is documented and what is forgotten.
A lot of it is waiting for a render to finish.
Monuments of a Fictional Past references both the speculative tradition of counterfactual history and the architectural poetics of unrealized futures. Monuments of a Fictional Past (Kraków Edition), 2025
The result is a fleeting, fractured archive of the collective present—an algorithmic shadow of daily events. https://oerum.org/watershed/ Watershed, 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
As the lecture unfolded, the lecturer (actor Kristian Husted) gradually transformed from a detached academic into a man consumed by his subject. The Pattern In Us All, 2007
Staged as a series of narrative “figures,” the project invents and documents civic architectures that never existed—but perhaps could have. Monuments of a Fictional Past (Kraków Edition), 2025
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The works form part of Ørum’s ongoing series Även staden drömmer om att vara en annan ("Even the city dreams of being another"), offering glimpses of civic and technological alternatives rooted in joy, memory, and shared invention. Even the City Dreams of Being Another, 2025
The Downloadable Augmented Reality App (available here: https://s.oerum.org/BW) allows one to build one's own messy and unregulated digital architectures, both on and off the building site around Spanien 19C. Brownfield Wonderland, 2022
The work featured electromagnetic pick-ups installed within body parts of a 3D-printed signal crayfish, comparing fears of digital transformation with concerns about invasive species. Signal_Crayfish, 2021
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
A computer transcribes the audio files it has captured and translates them into Danish, before uploading the text to Meter’s homepage. Blind Listening, 2017
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021
The exhibition was noted for providing a rare opportunity to interact with cutting-edge technology in a gallery setting. Mundane Monsters, 2022
It combines Live Action Role Playing (LARP), performance art, and sculpture, developed in close collaboration with young participants from across the Nordic region. Mundane Heroics, 2019
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 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
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
Guests were invited to renegotiate their role — not just as viewers, but as potential participants in a system of storytelling, symbols, and rituals that reframed both the neighbourhood and the museum as shared sites of imagination. Game Continent, 2010
The project served as the conceptual foundation for later work on how artificial intelligence could be used to create alternative historical narratives about Danish society. Tank Hip-Hop, 2022
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
Watershed is an online art project about the algorithmic gaze in an era of digital news. Watershed, 2025
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
The installation operated both as physical presence at ARoS Public and as part of the parallel online exhibition, extending the work virtually with supplementary material. Signal_Crayfish, 2021
The project used artificial intelligence not as a thinking entity, but as a tool filled with errors and biases that could inspire new ways of thinking. Frihed, Lighed Og Hip-Hop, 2023
As one deciphers mud from the ground that has been smeared onto the wall in the shape of geometric letterforms, dust from the building site made up of particles that were once buildings enters one's lungs. Brownfield Wonderland, 2022
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
DIFFUSED STATES imagines an alternative trajectory for artificial intelligence—one in which computational systems develop through local, small-scale infrastructures rather than centralised corporate platforms. Diffused States (Lexington), 2025
Standing at 1.5 metres, the piece draws on 17th-century drawings by Jón Skonvig, known for his work with antiquarian Ole Worm. The Good, the Lost, and the Beautiful, 2025
Roskilde Parahistory was part of the group exhibition Kurs at the Museum of Contemporary Art in Roskilde in 2009. Roskilde Parahistory, 2009
Recognised Faces unfolded publicly on a dedicated Tumblr, where the daily composites accumulated into a year-long portrait of both an individual and the internet’s visual culture at large. Recognised Faces, 2014
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025