Kristoffer Ørum
The website keeps itself up to date. He does not.
Digital art.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Science fiction, set last week.
A documentary practice. Every work here has an address and a date.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
The exhibition was noted for providing a rare opportunity to interact with cutting-edge technology in a gallery setting. Mundane Monsters, 2022
For the exhibition opening, Vitar Horsens Rollespilslaug performed an InCrowd game at the art museum, bringing their practice directly into the gallery space. Everyday Heroes, 2019
Running small, open systems on one’s own hardware provides a degree of autonomy and technological self-determination. None of These Images Are of Me, 2025
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
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
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
One night I dreamt that the cancer might turn the Russian president into a crab, or perhaps a crayfish, and woke to a report that he was dying of cancer. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
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
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
The solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
The Ballehage Woman was created by Anders Bojen and Kristoffer Ørum for the outdoor sculpture exhibition Sculpture by the Sea, organised by AROS Museum in Aarhus in 2009. The Ballehage Woman, 2009
The Pattern In Us All (2007) was a lecture performance created by Anders Bojen & Kristoffer Ørum at the University of Copenhagen. The Pattern In Us All, 2007
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Melting State is a video installation on three screens where the buildings of Statens Kunstfond, Det Kongelige Kunstakademi, and Kulturministeriet are subjected to computer-generated physics simulations. Melting State, 2020
The exhibition catalogue was designed in a sci-fi paperback style and published by backbonebooks. Signal_Crayfish, 2021
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
The same work was shown at Keramoda, Lønstrup, in 2021. Affluence without abundance, 2025
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
Custom software automated the browsing process by reading from the recorded history file and simulating user clicks. Auto Navigate My History, 2014
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
NLHspace was initiated in 2006 by artist Nanna Lysholt Hansen and operated as an "always open / always closed" space. Et Andet Rum 2, 2009
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 exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
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
It takes the current development of the site of the art space as its point of departure, arguing for the often-overlooked qualities and potential of brownfield sites like it. Brownfield Wonderland, 2022
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
Day to Day Data looks at how digital information is embedded in everyday life. Day to Day Data, 2008
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
The aesthetic of this space is deliberately glitchy and non-photorealistic. Watershed, 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