Kristoffer Ørum
Not a joke.
Mostly it is admin.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
An archive with gaps in it, kept by the person who made the gaps.
A programmer who picks the wrong algorithm on purpose.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
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
The project dismantles these logics and scrambles their effects. Watershed, 2025
The project questions the assumption that it is "easier to imagine the end of the world than the end of the welfare state" (paraphrasing Slavoj Žižek). Melting State, 2020
Each map focuses on a section of pavement filled with overlooked details such as cigarette butts, coffee spills, chewing gum and small weeds. Topographies of the Insignificant, 2010
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
The performance questions traditional notions of heroic bodies and monochrome histories, imagining instead non-heroic bodies in soft, feathered institutions that function as part of a collective ecosystem. Feathered Misconceptions, 2018
The book is ring-bound and its plates are 3D-printed. Signal_Crayfish, 2026
A Subjective History of Gdańsk is a hallucinatory and subjective presentation of the city of Gdańsk in Poland, a place historically shaped by competing ideologies that have repeatedly renamed and reconstructed it. A Subjective History of Gdańsk, 2011
In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019
The exhibition catalogue was designed in a sci-fi paperback style and published by backbonebooks. Signal_Crayfish, 2021
The book was commissioned during the early days of the COVID-19 pandemic as part of a group of works that examined interspecies entanglement and human vulnerability. Signal_Crayfish, 2021
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
These images, generated through AI, deliberately embrace glitches and impossibilities to question how historical narratives are constructed and repeated. Aarhus'er #1, 2025
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
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
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
The exhibition was curated by museum inspector Pernille Rom Bruun and featured partnerships between artists and associations including nature conservation, bird watching, boxing, gliding, gymnastics, and rabbit breeding groups. Everyday Heroes, 2019
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
Soap Particles (2005) is a 3D animation work exhibited in two venues: as part of a solo show at Q, Copenhagen (20–29 May 2005) and in the group exhibition Critical Mass at Skulpturens Hus, Stockholm (3 May 2005). Soap Particles, 2005
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
The installation examined how concealment can create tension between what is covered and potentially uncovered. Sucker Trick, 2017
The voices are those of the people who live in them. Affluence without abundance, 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
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
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
The project has been discussed in Vice and elsewhere as a reflection on surveillance, aesthetics and identity in the age of algorithmic vision. Recognised Faces, 2014
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
Or the massive folk festival held in Fælledparken the day graffiti was legalised? Frihed, Lighed Og Hip-Hop, 2023
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
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
Rather than proposing a return to older models, Watershed treats this uncertainty as an opportunity: a chance to experiment with new arrangements of familiar material, to test how different structures shape perception. Watershed, 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
The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025