Kristoffer Ørum
Research. Somebody is going to have to examine it.
Made by hand, mostly. Cut, cast, sanded, painted.
A programmer who picks the wrong algorithm on purpose.
Collaborative. Most of it was made with other people.
Most of it was built on other people's work.
This text is generated. He decided what it generates from.
They draw on the advertising industry’s most simplified identity categories and support algorithmic preferences. None of These Images Are of Me, 2025
As a user zooms in on a fragment, its pixel structure reveals itself, breaking the illusion of seamlessness. Watershed, 2025
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
The End of the Universe as We Know It? was a solo exhibition by Anders Bojen & Kristoffer Ørum at Galerie Mikael Andersen in Copenhagen in 2007. The End of the Universe as We Know It?, 2007
The work functions as a digital rendering where Putin's face operates as an isolated entity, functioning similarly to orthodox religious icons. Vladimir's Tongue, 2020
"Monuments of a Fictional Past" is a project that imagines a past where Soviet edifices dotting the Latvian landscape have been replaced with AI-generated counterparts. Monuments of A Fictitious Past, 2024
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
The project contributed to the establishment of the Interspecies Library, the first archive dedicated to artists' books focused on more-than-human worlds. Signal_Crayfish, 2021
Caught between constant computer-generated simulations of destruction and status quo institutions, it becomes difficult to imagine that the welfare state can be replaced by something different and better. Melting State, 2020
Curated by Kevin Malcolm (Vermilion Sands), the show brings together works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, and Kristoffer Ørum. Even the City Dreams of Being Another, 2025
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
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
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 2025
The Wave made by Anders Bojen & Kristoffer Ørum is a computer-animated video installation depicting a stormy sea with the tower of Copenhagen City Hall in the background. The Wave, 2009
The project was supported by research conducted at Aarhus University as part of an ongoing investigation into the aesthetic dimensions of computational processes and automated interpretation systems. Listening Without Ears, 2019
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
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
What emerges is a narrative of the self that is both enacted and undermined by an indifferent system — an algorithmic account of personality, filtered through the lenses of psychology, technology and cultural expectation. AutoBiography, 2011
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
The Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
As the lecture unfolded, the lecturer (actor Kristian Husted) gradually transformed from a detached academic into a man consumed by his subject. The Pattern In Us All, 2007
The project originated from a beetroot anecdote that was strange in itself: the moment when, looking at beetroots in a shopping bag, one seemed to resemble the artist's grandmother's nose, or perhaps Putin's nose from a Facebook image. Putins Nose, 2018
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
At the moment the building site is a site of overlapping and contested imaginaries and Brownfield Wonderland is a celebration of this brief moment where two ideas of what a city is coexist. Brownfield Wonderland, 2022
The exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
The exhibition consisted of stencils painted with beetroot juice, 3D-printed noses and beetroots, inkjet prints, a webcam and screens of various sizes with nose recognition, texts and animation. Putin's Nose, 2019
The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026
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
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
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 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
An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
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
When compositional and editorial hierarchies are systematically dismantled, how does the perceived importance of visual information change? Watershed, 2025
The photographs were found in a cabin after the vessel had spent seven days on the seabed, having been exposed to three atmospheres of pressure and salt water. Depth Estimation, 2019
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
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