Kristoffer Ørum
A programmer who picks the wrong algorithm on purpose.
Works with machines that are confidently wrong.
A teacher who keeps a studio in order to have something to teach from.
A documentary practice. Every work here has an address and a date.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
The project used the signal crayfish as a figure for examining digital surveillance and mapping of human movement through wireless networks. Signal_Crayfish, 2020
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
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
Guests were invited to renegotiate their role — not just as viewers, but as potential participants in a system of storytelling, symbols, and rituals that reframed both the neighbourhood and the museum as shared sites of imagination. Game Continent, 2010
The work combines AI-generated imagery with human-written captions, forming a dispersed narrative around how such systems might emerge—from grassroots tinkering to collectively governed infrastructures and hyper-local training data. Diffused States (Vancouver), 2025
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
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
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
The oysters provide shelter, regulate air quality, supply electricity and heating, and monitor their human inhabitants' health and behaviour. Affluence without abundance, 2021
We are used to our own sight, shaped by memory and emotion, and to the camera's lens, with its illusion of objectivity. Speaker 1, 2026
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
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
The installation was produced specifically for Interdimensionale II at Gammelgaard (September 2020) using three 4K video players (Raspberry Pi 4), three IIYAMA B2888UHSU screens, and video rendering services from foxrenderfarm.com. Melting State, 2020
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
Et Andet Rum 2 is a site-specific 3D animation by Anders Bojen and Kristoffer Ørum. Et Andet Rum 2, 2009
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
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
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
The work departed from the exhibition space but moved as performative action into urban space, with an online component extending the offline event. According to the Nose, 2021
The exhibition featured video projections, 3D-printed sculptures, wireless transmissions, two-dimensional works, and an augmented reality component that allowed visitors to view "monsters" inhabiting the gallery through their phone cameras. Mundane Monsters, 2022
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019
NLHspace was initiated in 2006 by artist Nanna Lysholt Hansen and operated as an "always open / always closed" space. Et Andet Rum 2, 2009
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
The Good, the Lost, and the Beautiful is a reconstruction of the Lee-stone, one of nine runestones believed to have been lost in the Copenhagen Fire of 1728. The Good, the Lost, and the Beautiful, 2025
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
The animation recreates the street outside the former artist-run space, projecting a computer-generated scene onto a screen covering the window. Et Andet Rum 2, 2009
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014