Kristoffer Ørum
The machines are collaborators and cannot be credited.
A programmer who picks the wrong algorithm on purpose.
Made by hand, mostly. Cut, cast, sanded, painted.
An archive with gaps in it, kept by the person who made the gaps.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A teacher who keeps a studio in order to have something to teach from.
Or the years when rap lyrics were about helping at home and taking good care of elderly citizens? Frihed, Lighed Og Hip-Hop, 2023
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. 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
Monuments of a Fictional Past (Kraków Edition) is a speculative archive of ephemeral monuments that emerge, dissolve, and resurface across Kraków’s historical and imagined timelines. Monuments of a Fictional Past (Kraków Edition), 2025
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
Or the massive folk festival held in Fælledparken the day graffiti was legalised? Frihed, Lighed Og Hip-Hop, 2023
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 artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
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
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
The Danish Arts Foundation's support enabled the presentation of the work in Vermont, introducing international digital art practices to the local community. Mundane Monsters, 2022
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
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
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
*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012
The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
The project used the signal crayfish as a figure for examining digital surveillance and mapping of human movement through wireless networks. Signal_Crayfish, 2020
Combining elements from the early labor movement with the local hip-hop culture of the 1990s, the project looks for untapped potential where creativity, community, and enjoyment take center stage. Aalborg Is The Future, 2024
At the same time, these messages were automatically sent to random email addresses in the local Amager area near the gallery. City Planning, 2010
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
As tension builds, the man gradually dissolves into the screen, becoming one with the flickering patterns. Once We All Walk through Solid Objects, 2007
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
It weaves together factual history, fiction, and AI-generated imagery to imagine a meeting between hip-hop’s pursuit of individual freedom and the labor movement’s collective struggle for better conditions. Aalborg Is The Future, 2024
While you are reading this text, which has been designed to be unreadable by computers, everything that is said in this room is being recorded. Blind Listening, 2017
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
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
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
Ordinary objects—such as a box of detergent or a web browser—become the basis for fictional universes, playful interfaces, and alternative representations of the data embedded in daily life. Day to Day Data, 2008
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
The project connected personal memory (the grandmother's nose) with political imagery (Putin's face) through everyday objects (beetroots) and digital mediation. Putins Nose, 2018
The project draws on the history of low-resource and locally maintained computing, from community-run bulletin board systems to peer-to-peer networks sustained by recycled hardware. Diffused States (Vancouver), 2025
The launch (December 7, 2024) consisted of a performative city walk, a community meal, and a concert with Christian Høgh, organized with f.eks. and supported by multiple cultural partners. Aalborg Is The Future, 2024
It employs a computational process to dismantle and reassemble the daily flow of news images into a navigable world built from their fragments. Watershed, 2025
The work operates as both a technical demonstration and a poetic meditation on the relationship between computation and imagination, revealing the "reservoirs of strangeness" that exist within everyday technological objects. Coffee Lake, 2019
The Good, the Lost, and the Beautiful is a reconstruction of the Lee-stone, one of nine runestones believed to have been lost in the Copenhagen Fire of 1728. The Good, the Lost, and the Beautiful, 2025
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025