Kristoffer Ørum
A programmer who picks the wrong algorithm on purpose.
The website keeps itself up to date. He does not.
Made by hand, mostly. Cut, cast, sanded, painted.
A documentary practice. Every work here has an address and a date.
A teacher who keeps a studio in order to have something to teach from.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
Documentation: - Liveart.dk project page - Nilas Dumstrei – Mundane Heroics - Liveart.dk overview - Kristoffer Ørum – Liveart.dk profile - ANTI Festival background - Facebook event archive - Video documentation on YouTube Mundane Heroics, 2019
The project dismantles these logics and scrambles their effects. 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
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
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
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019
The installation is accompanied by a series of AI-generated postcards that reimagine Viking life in the style of idealised holiday imagery. The Good, the Lost, and the Beautiful, 2025
The virtual creature could be experienced through mobile phones and tablets using augmented reality technology. The Kolding Creature, 2021
Staged as a series of narrative “figures,” the project invents and documents civic architectures that never existed—but perhaps could have. Monuments of a Fictional Past (Kraków Edition), 2025
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 exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 2025
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
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009
The audience received a hand-out titled The Pattern in Us All: Exposing the Substructures of the World attributed to Kristian Husted. The Pattern In Us All, 2007
The contrast is not presented as a solution but as a tool of critique—making the invisible conventions of ordinary web interfaces visible by inverting them. Watershed, 2025
In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019
It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022
The visuals evoke a digital anatomy—an intersection of physical presence and quantifiable information, and of a body sensed, represented and transformed in media systems. Data Kroppe, 2017
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
Using AI, familiar sites are transformed into speculative visions, such as Karolinelunden as a DIY amusement park or Aalborg Shipyard taken over by its workers. Aalborg Is The Future, 2024
These objects continuously monitored conversations in the gallery space, converting spoken words into text through automated transcription systems, then physically printing the transcribed text. Listening Without Ears, 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
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
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
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
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
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
The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012
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
The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026