Kristoffer Ørum
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Comedy.
Not research. The works were made first and explained afterwards.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Local. Copenhagen and Aarhus, mostly.
Made by hand, mostly. Cut, cast, sanded, painted.
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
The project questioned human privilege by highlighting the sophisticated communication systems of non-human species that operate beyond human perception. Signal_Crayfish, 2021
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
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
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 first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
Running small, open systems on one’s own hardware provides a degree of autonomy and technological self-determination. None of These Images Are of Me, 2025
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
The project builds on Ørum's ongoing work "Freedom, Liberty, and Hip-Hop," which envisions alternative Danish histories. Monuments of A Fictitious Past, 2024
The exhibition was noted for providing a rare opportunity to interact with cutting-edge technology in a gallery setting. Mundane Monsters, 2022
Through a visual language that draws on both scientific simulations and computer games, the flows of economy, knowledge and power are animated as dynamic systems. A Body Has Many Members, 2012
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
The Kolding Creature was a virtual three-dimensional creature created from 3D scans of local Kolding pets and conversations with their owners. The Kolding Creature, 2021
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
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
The project involved both the creation of a physical artist's book and a 3D-printed sculptural element integrated into the cover design. Signal_Crayfish, 2021
The collaboration process involved both artists visiting associations for fieldwork and associations visiting the museum for workshop days that became the foundation for the exhibited artworks. Everyday Heroes, 2019
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
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
Recognized for its experimental approach, Data Kroppe is cataloged in the Danish public digital archive Vores Kunst, which preserves commissioned television art. Data Kroppe, 2017
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
The project also responds critically to the historical metaphors of the human body as a model for political and social order. A Body Has Many Members, 2012
These events never happened; the project sets out what might have been possible. Frihed, Lighed Og Hip-Hop, 2023
The invasive biological species served as an analogy for invasive digital technologies and data collection systems. Signal_Crayfish, 2020
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
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
A collective of ten artists, led by Anders Bojen and Kristoffer Ørum, documented these spaces and transformed them into an interconnected web of associations, facts, myths and misunderstandings. Topographies of the Insignificant, 2010
Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014
The exhibition featured 26 contemporary artists responding to photographs that had been recovered from the ship Svartlöga after it capsized and sank in August 2018. Depth Estimation, 2019
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
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026