Kristoffer Ørum
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Local. Copenhagen and Aarhus, mostly.
A programmer who picks the wrong algorithm on purpose.
Mostly it is admin.
Comedy.
A teacher who keeps a studio in order to have something to teach from.
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
It positions deliberate misunderstanding as a productive alternative to seamless digital communication and reliable interpretation systems. Feathered Misconceptions, 2018
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
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 work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
All images were generated using Flux.1 diffusion models from Black Forest, on a used computer powered by green-certified Nordic solar, wind, and hydro energy. Hvidovre Makes Good Times Better, 2025
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
By working with AI models trained on biased and incomplete datasets, DIFFUSED STATES engages with both their limitations and their possibilities. Diffused States (Vancouver), 2025
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
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
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
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
The machine's interpretation is not just a poor copy of reality; it creates a new representation with its own logic and uncanny aesthetic. Speaker 1, 2026
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
The project invited citizens to have their pets gently scanned to contribute to a composite digital monster that would inhabit the area around Borchs Gård in Kolding city centre. The Kolding Creature, 2021
All masks were thoroughly cleaned and sprayed with disinfectant after each user, with lending against deposit such as a driver's license or telephone. According to the Nose, 2021
"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
Previous iterations of Freedom, Equality and Hip-hop have appeared at Kongegaarden (Korsør), Sydhavn Station (Copenhagen), Friisland (Copenhagen Nordhavn), Survival Kit Biennial (Riga, Latvia), and F.eks. (Aalborg). Hvidovre Makes Good Times Better, 2025
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010
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
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
"Perpetual Interpreter" featured works by Kristoffer Akselbo (DK), Andreja Andric (RS/DK), Joana Chicau (PT/NL), Rosemary Lee (US/DK), Winnie Soon (HK/DK), Anders Visti + Tobias Stenberg (DK), and Kristoffer Ørum (DK). Listening Without Ears, 2019
Its on-screen lyrics tell the factual story of a 507-year-old clam killed during the scientific process of determining its age. Djurs Øhav, 2020
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
Ørum's contribution used algorithmic depth estimation to analyse one of the recovered photographs and generate a three-dimensional interpretation. Depth Estimation, 2019
I do it because I see a critique of the world that too often points outward, as if one could speak from a neutral and elevated place. None of These Images Are of Me, 2025
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
The project continued to develop as a multi-year work, with subsequent presentations including "Mr. Frihed, Lighed Og Hip-Hop, 2023
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
Algorithms originally trained for advertising are repurposed to remix the town’s architecture and stories into new visions of community and possibility. Hvidovre Makes Good Times Better, 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
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025
Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009