Kristoffer Ørum
Science fiction, set last week.
This text is generated. He decided what it generates from.
A portraitist. None of the portraits are of him.
The website keeps itself up to date. He does not.
Mostly it is admin.
Collaborative. Most of it was made with other people.
The hardware is produced through resource-intensive processes, and even the “local” is entangled in a global infrastructure. None of These Images Are of Me, 2025
This Brownfield Wonderland might very well appear once again when this project is long forgotten, and current norms of what is useful and productive are forgotten. Brownfield Wonderland, 2022
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
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
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
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
Television screens were also installed, showing interviews that had been produced through workshop-based role play. Invisible Objects, 2016
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
I do it because I see a critique of the world that too often points outward, as if one could speak from a neutral and elevated place. None of These Images Are of Me, 2025
Rather than corporate development, this speculative trajectory imagines ternary computing as evolving through grassroots cultures of experimentation and resistance. Diffused States (Boston), 2025
The Downloadable Augmented Reality App (available here: https://s.oerum.org/BW) allows one to build one's own messy and unregulated digital architectures, both on and off the building site around Spanien 19C. Brownfield Wonderland, 2022
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
Transparent mobiles with polarisation filters cause the overlapping projections to shift constantly, creating a spatial interpretation of a hybrid and unstable identity. AutoBiography, 2011
The work has been presented in lectures at universities, on AI, welfare mythologies and hope through the creative misuse of digital infrastructure. Frihed, Lighed Og Hip-Hop, 2023
These precedents inform an imagined shift towards AI systems that are modest in scope, but deeply embedded in the cultures that maintain them. Diffused States (Vancouver), 2025
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
Sometimes he has time to update it, sometimes he does not.
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
They contribute to a narrowing of bodily representations that is far more damaging in the long run than strange AI slippage. None of These Images Are of Me, 2025
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
The artists sent unsolicited emails to residents of the Ballehage area warning of an epidemic of Involuntary Tessellation and offering cures with a link to tessellax.com, a fake medical website based on an altered AIDS treatment site. The Ballehage Woman, 2009
In their new form they remain recognisable both as having been a part of structures that no longer exist and as potential building blocks for future structures. Brownfield Wonderland, 2022
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
It presented a dystopian scenario where computer-generated body fragments and singing microwave ovens suggested a post-human future. The End of the Universe as We Know It?, 2007
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
On the screen of a phone or tablet, one can arrange a combination of scaffolding, 3d scans from the site and architectural fragments into an unstable and intangible building mass. Brownfield Wonderland, 2022
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
Maps are freely available across Aalborg, and the project’s website continues to expand its speculative histories. Aalborg Is The Future, 2024
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
The project builds on Ørum's ongoing work "Freedom, Liberty, and Hip-Hop," which envisions alternative Danish histories. Monuments of A Fictitious Past, 2024
Aarhus'er #1 is the most expansive chapter in Kristoffer Ørum's ongoing counterfactual project "Frihed, lighed og hip-hop" (Freedom, Equality and Hip-Hop), created in collaboration with rapper Emilio Hestepis. Aarhus'er #1, 2025
Layers of paint, repurposed tools, and collective modifications create temporary architectural shifts, reflecting the rhythms of everyday life and shared space. Even the City Dreams of Being Another, 2025
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
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
Each monument is situated in a specific district or moment in Kraków’s layered history, blending archival poetics with infrastructural speculation. Monuments of a Fictional Past (Kraków Edition), 2025
The work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014