Kristoffer Ørum
Research. Somebody is going to have to examine it.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Not research. The works were made first and explained afterwards.
Comedy.
Most of it was built on other people's work.
Solitary. One person decides what is documented and what is forgotten.
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
The project was presented as part of the group exhibition Coming From at Overgaden Institute of Contemporary Art in Copenhagen. Auto Navigate My History, 2014
The exhibition continued this approach, combining speculation with a documentary style to produce objects that felt like remnants of possible futures. The End of the Universe as We Know It?, 2007
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
Ørum's contribution used algorithmic depth estimation to analyse one of the recovered photographs and generate a three-dimensional interpretation. Depth Estimation, 2019
The work takes up how computer technology mediates our relationship to the physical world, creating hybrid zones where digital simulation and material reality intersect. Coffee Lake, 2019
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
The invasive biological species served as an analogy for invasive digital technologies and data collection systems. Signal_Crayfish, 2020
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019
The work was presented at NLH Space in Copenhagen, which was run by The Organisation – Association for Artistic and Curatorial Platforms. Et Andet Rum 2, 2009
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
This is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
The signs Prognose eller kaos (Prognosis or Chaos) and a second Leddyrsomsorg in the gallery. Leddyrsomsorg / Arthropod Care, 2026
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
Sometimes he has time to update it, sometimes he does not.
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
The project draws inspiration from the largely forgotten history of ternary computing—an alternative to binary systems that operates on three states: true, false, and unknown. Diffused States (Boston), 2025
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
Generated with a Chinese variant of the Huyuan algorithm, the images include intentional misreadings of the runic inscriptions, echoing centuries of translation, loss, and projection. The Good, the Lost, and the Beautiful, 2025
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 2025
At the neighbouring Museum Østjylland, speculative objects were integrated into the historical displays, including a model of an "oyster home" and interventions within exhibits about Grenå's local oyster history. Djurs Øhav, 2020
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
The visuals evoke a digital anatomy—an intersection of physical presence and quantifiable information, and of a body sensed, represented and transformed in media systems. Data Kroppe, 2017
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
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 involved creating AI-generated posters and videos that depicted an alternative Danish history where the labour movement and 1990s hip-hop culture merged. Frihed, Lighed Og Hip-Hop, 2023