Kristoffer Ørum
Most of it was built on other people's work.
Works with animals that have not agreed to it.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Not a joke.
Digital art.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
The performance concludes with Google's speech recognition continuously but often mistakenly transcribing what the lecturer says, with colours changing rhythmically each time the text updates. Feathered Misconceptions, 2018
The work was installed in the lobby of the National Danish Broadcaster (DR) as part of Glowing Climate, organized by Illumenarts in 2009. The Wave, 2009
The exhibition contributed to ongoing discussions about AI, storytelling, and alternative histories. Mr. Spray, 2024
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
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
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
A chair, a refrigerator door containing a bottle of milk, a platter holding a watermelon, and a breadbox with a loaf of rye bread were produced in jesmonite with inner cores of flamingo foam that were dissolved in acetone. Invisible Objects, 2016
Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
The work was exhibited at ARoS Public's communication centre on the third floor from May to July 2021, alongside works by Danish and international artists including Lawrence Lek, Morehshin Allahyari, Stephanie Dinkins, and others. Signal_Crayfish, 2021
The project is a labyrinthian installation composed of hand-printed cardboard boxes, arranged to create interconnected spaces. In a Dark Room/a Storm in a Coffee Cup, 2004
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
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
The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019
Coffee Lake is a video installation combining computer-generated video with animated text, created for the group exhibition "Machine sans nom" at Bonamatic. Coffee Lake, 2019
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
A Body Has Many Members is a large-scale public commission by Anders Bojen & Kristoffer Ørum for the University College Capital (UCC) Campus Nordsjælland, produced with support from the Danish Agency for Culture. A Body Has Many Members, 2012
How might civic memory be shaped not by permanence and power, but by shared breath, transient gatherings, and structures built to dissolve? Monuments of a Fictional Past (Kraków Edition), 2025
The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
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 system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025
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 centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
The exhibition recounted the story of a black magnetic fluid, ferrofluid, that generated forms and figures without human interaction. The End of the Universe as We Know It?, 2007
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 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
The aesthetic of this space is deliberately glitchy and non-photorealistic. Watershed, 2025
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
By working with AI models trained on biased and incomplete datasets, DIFFUSED STATES engages with both their limitations and their possibilities. Diffused States (Vancouver), 2025
I also do it because I, as a white, established, middle-aged male artist, embody many of the privileges and blind spots that shape both the world and the art world. None of These Images Are of Me, 2025
The voices are those of the people who live in them. Affluence without abundance, 2025