Kristoffer Ørum
Not research. The works were made first and explained afterwards.
Research. Somebody is going to have to examine it.
Comedy.
Most of it was built on other people's work.
A record-keeper. The website is the work.
Made by hand, mostly. Cut, cast, sanded, painted.
The work operates as both a technical demonstration and a poetic meditation on the relationship between computation and imagination, revealing the "reservoirs of strangeness" that exist within everyday technological objects. Coffee Lake, 2019
The project imagines a future where columns echoing ancient Greek wooden architecture lose their weight or melt, where gravity is suspended for a moment while art institutions deform and dance in the wind before the air goes out of them. Melting State, 2020
At the neighbouring Museum Østjylland, speculative objects were integrated into the historical displays, including a model of an "oyster home" and interventions within exhibits about Grenå's local oyster history. Djurs Øhav, 2020
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021
Blind Listening was presented as part of *I would prefer not to*, an exhibition at Meter (Copenhagen) on the potential of the non-productive, the meaningless, and the functional. Blind Listening, 2017
When compositional and editorial hierarchies are systematically dismantled, how does the perceived importance of visual information change? Watershed, 2025
In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019
The work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014
At the same time, abstract projections of colour and computer-generated sound evolve according to the same underlying logic. AutoBiography, 2011
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
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
The monumental buildings are inflated like weightless balloons, melt like butter on a hot pan, and are covered with soft multicoloured hair. Melting State, 2020
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
On the other hand, these systems are still trained on global datasets full of bias, stereotypes, and inequality. None of These Images Are of Me, 2025
The exhibition gathers artists' books from the handmade to the high-tech, including 3D-printed structures and works that leave the codex behind. Signal_Crayfish, 2026
It questions the implications of surveillance, the accumulation of digital traces, and the way ordinary routines are recorded and interpreted. Day to Day Data, 2008
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
The book is ring-bound and its plates are 3D-printed. Signal_Crayfish, 2026
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025
The symposium featured artists and scholars examining contemporary forms of image making and computational apparatus, investigating relations between desire and automation, uncertainty and labour, self and other. It Sings for Us of What We Might Become, 2019
Each scanning session lasted approximately 30 minutes and included conversations between pet owners and the artist about their animals. The Kolding Creature, 2021
The exhibition blurs the line between documentary and fiction, making room for the unrealised potential of the past to resurface not as nostalgia, but as unfinished possibility. Aarhus'er #1, 2025
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
The show took place from 2017-08-18 to 2017-12-09, inspired by Herman Melville’s *Bartleby, the Scrivener* and its quiet refusal: “I would prefer not to.” Blind Listening, 2017
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
The work was exhibited as part of "New Tactics: moving in a soft field" in 2018 and later developed into a solo exhibition at Møstings Hus in 2019. Putins Nose, 2018
During the exhibition, the carefully worded original English text on the exhibition space’s website was gradually replaced by an unstable bilingual text, one sentence at a time. Blind Listening, 2017
Inside the exhibition space at Sydhavn Station (housed in a former DSB kiosk), the walls were painted with abstract graffiti and AI-generated videos showed various demonstrations and concerts related to this fictional history. Frihed, Lighed Og Hip-Hop, 2023
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
One is pink and perforated, carrying a crown and, in mirror writing, "Find them, eat them & enjoy them" — the Danish Nature Agency's advice on the invasive signal crayfish. Signal_Crayfish, 2026
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
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
Using the fictional device Scope 3000, he ultimately merged with the patterns themselves. The Pattern In Us All, 2007
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