Kristoffer Ørum
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A portraitist. None of the portraits are of him.
A programmer who picks the wrong algorithm on purpose.
Solitary. One person decides what is documented and what is forgotten.
The website keeps itself up to date. He does not.
A record-keeper. The website is the work.
The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005
The work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 2021
The piece was first aired on November 7, 2017, as part of a series on innovative expressions in public media. Data Kroppe, 2017
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 solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020
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
Diffused States imagines a counterfactual technological history in which graffiti and phone phreaking converged through the discovery that modified spray paint could interact with electromagnetic infrastructure. Diffused States (Boston), 2025
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 2025
Some appear edible, some pneumatic, some built from sound or breath. Monuments of a Fictional Past (Kraków Edition), 2025
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
The collaboration involved fieldwork where Ørum spent time with the role-playing association in their regular activities, including battles in Hansted Forest and gaming sessions. Everyday Heroes, 2019
The exhibition dealt with invisible communication systems including Wi-Fi networks, radio communications, and chemical signals that operate undetected around us. Signal_Crayfish, 2020
The project used artificial intelligence not as a thinking entity, but as a tool filled with errors and biases that could inspire new ways of thinking. Frihed, Lighed Og Hip-Hop, 2023
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
The work referenced Gustave Courbet's 1866 painting "L'Origine du monde", which was kept hidden behind a curtain for over a century. Sucker Trick, 2017
In the machine's failure to see me correctly, and in the unexpected beauty of its attempt, I was given a chance to see myself in new ways. Speaker 1, 2026
In the post-totalitarian context of Latvia, where memory is often manipulated for political purposes, the work offers a reminder that the past is not fixed and demonstrates the fluidity of historical narratives. Monuments of A Fictitious Past, 2024
This breaks with the idea of a coherent and authentic artistic subject—an illusion that the art market is still deeply dependent on. None of These Images Are of Me, 2025
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
Custom software automated the browsing process by reading from the recorded history file and simulating user clicks. Auto Navigate My History, 2014
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
Leddyrsomsorg / Arthropod Care is a twenty-minute video, one of nine works Ørum showed in FORSTADIER / Precursors — a duo exhibition with Aske Thiberg, curated by Morten K Jacobsen and Heidi Hove. Leddyrsomsorg / Arthropod Care, 2026
Ordinary objects—such as a box of detergent or a web browser—become the basis for fictional universes, playful interfaces, and alternative representations of the data embedded in daily life. Day to Day Data, 2008
It combines Live Action Role Playing (LARP), performance art, and sculpture, developed in close collaboration with young participants from across the Nordic region. Mundane Heroics, 2019
Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 2019
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010
The project was presented as part of the Alternativa 2011–2012 festival, a contemporary art festival in Gdańsk that focused on experimental and interdisciplinary approaches to art and culture. A Subjective History of Gdańsk, 2011
Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017
The installation was produced specifically for Interdimensionale II at Gammelgaard (September 2020) using three 4K video players (Raspberry Pi 4), three IIYAMA B2888UHSU screens, and video rendering services from foxrenderfarm.com. Melting State, 2020
The book is ring-bound and its plates are 3D-printed. Signal_Crayfish, 2026
In The Old Gate at Folkets Park, Malmö’s working-class history is reactivated through DIY sound system cultures. Even the City Dreams of Being Another, 2025
The performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
The book presents ten different pattern scenarios, ranging from animal vision and camouflage to government propaganda through patterned textiles. Once We All Walk through Solid Objects, 2007
We are shaped by the grammar of the frame, where composition and colour psychology direct our gaze and mood. Watershed, 2025
The works form part of Ørum’s ongoing series Även staden drömmer om att vara en annan ("Even the city dreams of being another"), offering glimpses of civic and technological alternatives rooted in joy, memory, and shared invention. Even the City Dreams of Being Another, 2025
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
The exhibition took as its subject the sources of inspiration behind artistic practice, inviting 35 Danish artists to contribute an object, material, or work that revealed part of their process. Auto Navigate My History, 2014