Kristoffer Ørum
Works with machines that are confidently wrong.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A programmer who picks the wrong algorithm on purpose.
Made by hand, mostly. Cut, cast, sanded, painted.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
The website keeps itself up to date. He does not.
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 installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
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
Diffused States was presented as part of *Data Fluencies: Tributaries*, curated by Roopa Vasudevan, which brought together artists working on the ways data can be resisted, rerouted, or reimagined outside dominant narratives. Diffused States (Vancouver), 2025
The project operated on several levels with "lines of flight" into the city, online, and in local media. According to the Nose, 2021
Monuments of a Fictional Past (Kraków Edition) is a speculative archive of ephemeral monuments that emerge, dissolve, and resurface across Kraków’s historical and imagined timelines. Monuments of a Fictional Past (Kraków Edition), 2025
A ghostly city that is no less real than the cities summoned forth in digital renderings by architects and planners to convince us of the future they are proposing. Brownfield Wonderland, 2022
The Perfect Wave (2004) is a 3D animated video work by Anders Bojen & Kristoffer Ørum that takes as its subject the iconic and endlessly recurring image of a single wave. The Perfect Wave, 2004
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
The work mixed factual information about signal crayfish with invented characteristics, including claims that the species can grow to 1.8 metres and possess wireless communication abilities. Signal_Crayfish, 2020
By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010
The centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025
When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 2025
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
The project invited citizens to have their pets gently scanned to contribute to a composite digital monster that would inhabit the area around Borchs Gård in Kolding city centre. The Kolding Creature, 2021
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
An actor dressed as The Ballehage Woman roamed the underbush of Marselisborg Forest near the Ballehage neighbourhood every night at dusk for a month. The Ballehage Woman, 2009
The work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
Retired factory workers repurpose their technical knowledge to build speakers and maintain audio infrastructure, passing skills across generations. Even the City Dreams of Being Another, 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
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
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
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
Spray was the third part of a multi-year project that began with "Tank Hip-Hop" at Retro Avantgarde in Kongegaarder and continued with "Freedom, Equality, and Hip-Hop" at Sydhavn Station in November 2023. Mr. Spray, 2024
The project’s online component was crafted with HTML, CSS, and Flash as a web-based work. contributors included Maja Zander; Kaspar Bonnén; Stig W Jørgensen; Palle R. Radiant Copenhagen, 2009
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
Et Andet Rum 2 is a site-specific 3D animation by Anders Bojen and Kristoffer Ørum. Et Andet Rum 2, 2009
To understand it, I placed a digital version of myself—a puppet with my face and a clone of my voice—in front of various AIs. Speaker 1, 2026
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016