Kristoffer Ørum

Kristoffer Ørum

A teacher who keeps a studio in order to have something to teach from.

Twenty years out of art school, and back in it.

A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.

Not research. The works were made first and explained afterwards.

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

Local. Copenhagen and Aarhus, mostly.

Fed back into the internet, these phantom portraits acted as a small disturbance within systems of profiling maintained by intelligence agencies, corporations and other data collectors. Recognised Faces, 2014

The Perfect Wave (2004) is a 3D animated video work by Anders Bojen & Kristoffer Ørum that takes as its subject the iconic and endlessly recurring image of a single wave. The Perfect Wave, 2004

Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014

The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021

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

The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017

The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020

Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021

The project involved both the creation of a physical artist's book and a 3D-printed sculptural element integrated into the cover design. Signal_Crayfish, 2021

At the same time, I know how effective these images are. None of These Images Are of Me, 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

One was an animated video about life inside an oyster. Djurs Øhav, 2020

Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026

The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019

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

As tension builds, the man gradually dissolves into the screen, becoming one with the flickering patterns. Once We All Walk through Solid Objects, 2007

The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011

Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025

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

We are collectively searching for new grammars of public discourse. Watershed, 2025

At the same time, abstract projections of colour and computer-generated sound evolve according to the same underlying logic. AutoBiography, 2011

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

All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026

Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011

The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019

Coffee Lake is a video installation combining computer-generated video with animated text, created for the group exhibition "Machine sans nom" at Bonamatic. Coffee Lake, 2019

The Kolding Creature was a virtual three-dimensional creature created from 3D scans of local Kolding pets and conversations with their owners. The Kolding Creature, 2021

Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026

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

The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008

A book, "Kolindsund fremtidsturistguide," was published by forlaget majlund in 2022 (ISBN 9788793882096) in connection with the work. Djurs Øhav, 2020

The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025

The work involved 3D-printing signal crayfish models equipped with electromagnetic sensing components. Signal_Crayfish, 2021

Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021

Exhibited in several international contexts, the piece was shown in The Blender’s Orbit (Kingly Court, London), Time Pop 2 (Prince Charles Cinema, London), and Loop Pool (Raum für Projection, Oberhausen). The Perfect Wave, 2004

It positions deliberate misunderstanding as a productive alternative to seamless digital communication and reliable interpretation systems. Feathered Misconceptions, 2018

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 signal crayfish served as a figure for both biological invasion and technological infiltration. Signal_Crayfish, 2021

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

Figures gather for shared meals, sweep longhouse floors, inscribe runes like graffiti, perform stylised rituals, or take part in dance battles and DJ sets using flat stones. The Good, the Lost, and the Beautiful, 2025

Recognised Faces
Recognised Faces See the work →