Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
Science fiction, set last week.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Most of it was built on other people's work.
This text is generated. He decided what it generates from.
Works with machines that are confidently wrong.
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
Just as hip-hop DJs once transformed the turntable from a playback device into a creative instrument, this project reimagines Hvidovre’s history as speculative fiction. Hvidovre Makes Good Times Better, 2025
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
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 2025
The project connected personal memory (the grandmother's nose) with political imagery (Putin's face) through everyday objects (beetroots) and digital mediation. Putins Nose, 2018
Maps are freely available across Aalborg, and the project’s website continues to expand its speculative histories. Aalborg Is The Future, 2024
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
Rather than simply discussing these themes, the performance stages a series of unstable software experiments and semi-fictional narratives, creating a situation that is deliberately out of the performer's control. It Sings for Us of What We Might Become, 2019
Using computer vision software, a rapping face appears on the plum, following its movements as the lecturer holds it in front of the webcam. Feathered Misconceptions, 2018
For the exhibition opening, Vitar Horsens Rollespilslaug performed an InCrowd game at the art museum, bringing their practice directly into the gallery space. Everyday Heroes, 2019
The solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
The project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
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
In 2025, the project will travel to Krakow, Malmö, Boston, Vancouver, Lexington, and Aarhus. Hvidovre Makes Good Times Better, 2025
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
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
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
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 video can be described as a combination of Half-Life 2, Hitchcock's *Vertigo*, and Bridget Riley, rendered in a computer-game-like animation of a man watching a screen. Once We All Walk through Solid Objects, 2007
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
Television screens were also installed, showing interviews that had been produced through workshop-based role play. Invisible Objects, 2016
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
The title refers to multiple forms of diffusion: the technical process of algorithmic image generation; the physical dispersion of paint; and the informal, community-based spread of knowledge and technology. Diffused States (Boston), 2025
A face judged as both 'neutral' and 'fake' by two different systems at the same time is more than a technical glitch; it's a new kind of image that hints at a possible new understanding of identity. Speaker 1, 2026
The work was documented in a video presentation and included in the festival’s program alongside other international and local artists working in experimental modes of storytelling and urban critique. A Subjective History of Gdańsk, 2011
The exhibition featured 26 contemporary artists responding to photographs that had been recovered from the ship Svartlöga after it capsized and sank in August 2018. Depth Estimation, 2019
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
Leaving the site once again ready to become yet another kind of Brownfield Wonderland, where one might just be able to dream of something new, instead of more of the same. Brownfield Wonderland, 2022
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021