Kristoffer Ørum
Local. Copenhagen and Aarhus, mostly.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Not a joke.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Nothing digital about it. A screen is an object, and objects sit in rooms.
A portraitist. None of the portraits are of him.
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
Anders Bojen and Kristoffer Ørum focus on Isaac Newton’s theory of gravity and the metaphors and assumptions surrounding it. Disbelieving Gravity, 2013
The project includes works such as Detergent (Real Imaginary System) and Auto Navigate My History, which visualize, manipulate, and creatively reimagine the information generated by ordinary activities. Day to Day Data, 2008
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
Mundane Monsters was an interactive digital multimedia exhibition that transformed the gallery at Epsilon Spires into a walk-through experience about the modern relationship between nature and culture. Mundane Monsters, 2022
Disparate subjects such as English Vorticism, brainwaves, animal perception, and doomsday scenarios were connected in an increasingly ambitious thesis. The Pattern In Us All, 2007
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
Inside the exhibition space at Sydhavn Station (housed in a former DSB kiosk), the walls were painted with abstract graffiti and AI-generated videos showed various demonstrations and concerts related to this fictional history. Frihed, Lighed Og Hip-Hop, 2023
The installation used various media to investigate how technology shapes our understanding of faces, identity, and political figures. Putins Nose, 2018
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
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
"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
The process consistently produced a balance between the familiar and the strange. Mundane Heroics, 2019
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021
Public places became stages for brief moments of shared fiction. Mundane Heroics, 2019
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
Instead of showing only what is lost when a human is translated into data, these moments offer a new perspective. Speaker 1, 2026
With modified lawnmowers, they cut public lawns and compressed the grass to extract chlorophyll, the “magic potion” that enabled them to carry out new missions. Game Continent, 2010
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
At the same time, abstract projections of colour and computer-generated sound evolve according to the same underlying logic. AutoBiography, 2011
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
The project imagines a future where columns echoing ancient Greek wooden architecture lose their weight or melt, where gravity is suspended for a moment while art institutions deform and dance in the wind before the air goes out of them. Melting State, 2020
The video combines humor, science fiction, and speculative narratives in a single continuous run through unusual and imaginative topics. Search for Carrot ExtraTerrestrial Intelligence, 2006
At the same time, these messages were automatically sent to random email addresses in the local Amager area near the gallery. City Planning, 2010
The project reflected on the transformation of the district: once a mixed working-class and industrial area, now rapidly becoming an upscale residential neighbourhood. City Planning, 2010
Presented by Anders Bojen and Kristoffer Ørum as part of the MFA 2004 Degree Show at Goldsmiths, London, UK, the work was exhibited from 22 to 26 July 2004. In a Dark Room/a Storm in a Coffee Cup, 2004
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
The installation operated both as physical presence at ARoS Public and as part of the parallel online exhibition, extending the work virtually with supplementary material. Signal_Crayfish, 2021
On the other hand, these systems are still trained on global datasets full of bias, stereotypes, and inequality. None of These Images Are of Me, 2025
Some elements are only revealed through exploration, others remain invisible, and a hidden part of the project can be discovered by persistent visitors. Topographies of the Insignificant, 2010
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
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 opening performance on 30 May 2024 was paired with Linnea Langfjord's work on alternative presents focused on care and slowness in the art world. Mr. Spray, 2024
The work referenced Gustave Courbet's 1866 painting "L'Origine du monde", which was kept hidden behind a curtain for over a century. Sucker Trick, 2017
The result is a fleeting, fractured archive of the collective present—an algorithmic shadow of daily events. https://oerum.org/watershed/ Watershed, 2025
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
By working with models that reflect the biases and gaps of their training data, DIFFUSED STATES treats these systems not as definitive or universal but as provisional, adaptable, and open to reinterpretation. Diffused States (Lexington), 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
Instead of treating these models as definitive or universal, the project approaches them as partial and provisional—open to reinterpretation, modification, and play. Diffused States (Vancouver), 2025