Kristoffer Ørum
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A teacher who keeps a studio in order to have something to teach from.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A programmer who picks the wrong algorithm on purpose.
Research. Somebody is going to have to examine it.
Mostly it is admin.
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
During the exhibition, the carefully worded original English text on the exhibition space’s website was gradually replaced by an unstable bilingual text, one sentence at a time. Blind Listening, 2017
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
Day to Day Data looks at how digital information is embedded in everyday life. Day to Day Data, 2008
The plate facing it is green and reads "I cheer as the pink-green crayfish team score a goal", over a passage about crayfish sending messages to each other across the same wireless networks that carry a live football game. Signal_Crayfish, 2026
The festival invited artists to work across the boundaries between history, urban space, and perception, creating site-specific works and lectures that engaged with the city’s social and architectural context. A Subjective History of Gdańsk, 2011
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
We are shaped by the grammar of the frame, where composition and colour psychology direct our gaze and mood. Watershed, 2025
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
At the same time, abstract projections of colour and computer-generated sound evolve according to the same underlying logic. AutoBiography, 2011
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
The virtual creature remained accessible in the Borchs Gård area until 1 March 2022, allowing ongoing public engagement with the augmented reality artwork. The Kolding Creature, 2021
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 2019
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
It presented a dystopian scenario where computer-generated body fragments and singing microwave ovens suggested a post-human future. The End of the Universe as We Know It?, 2007
The work was part of "Partners," an experimental exhibition at Vejle Kunstmuseum that paired seven artists with seven local associations. Everyday Heroes, 2019
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
Blind Listening was presented as part of *I would prefer not to*, an exhibition at Meter (Copenhagen) on the potential of the non-productive, the meaningless, and the functional. Blind Listening, 2017
Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014
Aarhus'er #1 is the most expansive chapter in Kristoffer Ørum's ongoing counterfactual project "Frihed, lighed og hip-hop" (Freedom, Equality and Hip-Hop), created in collaboration with rapper Emilio Hestepis. Aarhus'er #1, 2025
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
A face judged as both 'neutral' and 'fake' by two different systems at the same time is more than a technical glitch; it's a new kind of image that hints at a possible new understanding of identity. Speaker 1, 2026
The process consistently produced a balance between the familiar and the strange. Mundane Heroics, 2019
Like collage, the work is not about arriving at a definitive meaning but about generating provisional configurations that open new ways of seeing. Watershed, 2025
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
They draw on the advertising industry’s most simplified identity categories and support algorithmic preferences. None of These Images Are of Me, 2025
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
Signal_Crayfish (2021), the book work, shown in Futurity Library: Disobedient Artists' Books in the Postbook Age at the San Francisco Center for the Book, 25 April to 26 July 2026, curated by bex ya yolk. Signal_Crayfish, 2026
Ørum's contribution used algorithmic depth estimation to analyse one of the recovered photographs and generate a three-dimensional interpretation. Depth Estimation, 2019
In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019
One was an animated video about life inside an oyster. Djurs Øhav, 2020
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
The exhibition Coming From took place from 23 August to 14 September 2014, with an opening on 22 August. Auto Navigate My History, 2014
This breaks with the idea of a coherent and authentic artistic subject—an illusion that the art market is still deeply dependent on. None of These Images Are of Me, 2025
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010