Kristoffer ørum

“Pleasure has become a weapon, and this collective transformation never stops. Arm in arm, they eat themselves free from oppression, making their bodies into barricades of pastry. Here, the ephemeral and useless are celebrated – the pure joy of creating something that disappears at the moment it is enjoyed. But as the cakes are digested and the walls crumble, an ambiguous question arises: Are they becoming the architecture, or is the architecture becoming them? Where is the boundary between the creator and the created? Is it the building’s sugar crystal structures that permeate the bodies, or is it the bodies that dissolve the building?” Exhibition Information: Visit KH7 Artspace at Sydhavnsgade 7, 8000 Aarhus March 1-30, 2025 #arhusart #artistassociationjutland #wherethewallsweepsugar #danishcontemporaryart #frihedlighedoghiphop #tankhiphop #aiart Note: This the fourth part of text a translation of the audio narrative that can be heard in the exhibition.

“With each bite, their bodies become more unruly – fingers of braided Danish pastry form into fists, hair of spun sugar flutters like rebellious flags, and eyes like small rum balls sparkle with mild revolution. Their bones have become crisp vanilla wreaths that crack against the teeth of the world.” Exhibition Information: This work contributes to Denmark’s artist-run initiatives that form the heart of the local art scene Part of an independent and artist-driven organization Experience 26 works by 28 artists, each lasting 26 minutes #contemporaryart #aiart #aarhuskunst #kh7artspace #flux1 #arhusart #artistassociationjutland Note: This the third part of text a translation of the audio narrative that can be heard in the exhibition.

“The square meters have cast off their chains and are now a chaotic collective of edible cake bases growing wildly in patterns no architect could have predicted. New bodies have occupied the space and declared it a self-governing cake zone. Here they literally eat their way through the walls of the system and taste a world without hierarchies.” Exhibition Information: A self-initiated group exhibition by The Artist Association Jutland (www.ksjylland.dk) The work features an AI-generated photograph (flux.v1) and a 1-minute audio piece Transforming the industrial architecture of Sydhavnsgade 7 Supported by the Danish Arts Foundation #contemporaryart #aiart #aarhuskunst #kh7artspace #flux1 Note: This the second part of text a translation of the audio narrative that can be heard in the exhibition.

“At Sydhavnsgade 7, the building twists itself free and transforms into cake. The former concrete walls, where harbour workers once took their hungry breaks, have now become a rebellious mass of marzipan and icing sugar that refuses to comply. Wild sugar lumps explode through the facade as a blossoming resistance against moderation and productivity.” Exhibition Information: “Where the Walls Weep Sugar / Hvor Væggene Græder Sukker” Part of “TIME, 26 works, 26 minutes, 28 artists” March 1-30, 2025 KH7 ARTSPACE, Sydhavnsgade 7, 8000 Aarhus, Denmark www.kh7artspace.dk #contemporaryart #aiart #aarhuskunst #kh7artspace #flux1 #arhusart #artistassociationjutland Note: This the first part of text a translation of the audio narrative that can be heard in the exhibition.

A gateway stands in Malmö, telling stories since 1891. The Old Gate at Folkets Park isn’t just an entrance – it’s a living piece of history that keeps changing with the times. Built from scaffolding and bits and pieces people saved from the scrapheap, it shows how Malmö has grown from a factory town into a place buzzing with art and music. This spot is where worlds meet. Here, you’ll find retired factory workers teaching young people everything they know, especially about building sound systems. Old electricians work their magic with audio wiring, while former carpenters shape wooden speaker boxes with the care that comes from years of practice. Metalworkers who once worked in the factories now bend and weld frames to hold all the equipment steady. The gate area keeps the spirit of Malmö’s working people alive in a new way. Where workers once gathered to sing in choirs and dance to orchestras, now people come together to make music of all kinds. It’s amazing to see former textile workers, who used to keep factory machines running smoothly, now fixing audio cables and putting together circuit boards. Through these sound systems, pumping out everything from hip-hop to community festivals, the city’s factory days live on in today’s music scene. The “Även staden drömmer om att vara en annan” series presents alternative visions of Malmö City Hall, Folkets Park, and the gallery at Drottninggatan 6. At the Edge II – Featuring works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, Kristoffer Ørum Curator: Kevin Malcolm Dates: March 14 – April 13, 2025 Vernissage: Friday, March 14, 5–8pm The exhibition is supported by Kulturrådet, Malmö stad, Region Skåne and Statens Kunstfond. Thanks to Lisa Strømbeck for Swedish proofreading. #frihedlighedoghiphop #tankhiphop

Since 1935, Drottninggatan 6 has been more than just a building – it’s a place where people can really make their mark. Its open design has let generations of residents remake it in their own way. The first people who lived here knew a thing or two about garden plots, and they worked magic with whatever materials they could find. They pieced together entire kitchens from salvaged stuff and cleverly built balconies from old scaffolding. These days, people living there keep that creative spirit going strong. They’ve turned everyday stuff into painting tools – pressure cookers and bike pumps become spray painters, reaching from inside walls to the building’s outer face. People mix up their own colors using leftover paint from factories, mixing it with thinners and using compressed air to spray it. The building comes alive with layers of art – kids' drawings peek through between detailed murals and bold graffiti. When the community gets together, the whole building changes as people create temporary doorways between floors and apartments. While these changes don’t stick around forever, they change how neighbors hang out and move through the space. Even as people move in and out, the walls tell their stories through layers upon layers of paint – each one a memory of what this place could be. The “Även staden drömmer om att vara en annan” series presents alternative visions of Malmö City Hall, Folkets Park, and the gallery at Drottninggatan 6. At the Edge II – Featuring works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, Kristoffer Ørum Curator: Kevin Malcolm Dates: March 14 – April 13, 2025 Vernissage: Friday, March 14, 5–8pm The exhibition is supported by Kulturrådet, Malmö stad, Region Skåne and Statens Kunstfond. Thanks to Lisa Strømbeck for Swedish proofreading. #frihedlighedoghiphop #tankhiphop

Nyt borgerforslag med over 4600 støtter udfordrer politikeres brug af “folkelighed” og “danskhed”. FPA indfører folkelighedsbarometer og konsekvenser for politikere, der taler om disse begreber uden at praktisere dem. Se hele forslaget: oerum.org/ATAW/Borg… #automatetheartworld

Since the early 1990s, Malmö’s City Hall has been doing things differently, mixing old-school city planning with hip-hop culture. Building on how things were done back in the 1920s, they’ve created a way of running the city that you won’t find anywhere else in Europe. Here, paperwork and creativity don’t fight each other – they make each other better. Picture city council meetings where debates about money and building permits turn into rap battles, with different sides trading verses about their ideas. Department heads mix dance battles with voting, making decisions in a way that’s both fun and gets things done. Number crunchers turn their reports into performances, while plans for new buildings come alive through freestyle rap that helps everyone understand what’s being built and why. When it’s time to hear from the public, city workers jump between giving regular presentations and joining dance sessions to really connect with people. Committee meetings flow with rhymes as locals and city staff swap ideas over beats. Before getting down to business, meetings kick off with break dancing. Old-timers show the newcomers how to mix fresh ideas with getting the job done, keeping the city running smooth while bringing in new ways of doing things.

The “Även staden drömmer om att vara en annan” series presents alternative visions of Malmö City Hall, Folkets Park, and the gallery at Drottninggatan 6. At the Edge II – Featuring works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, Kristoffer Ørum Curator: Kevin Malcolm Dates: March 14 – April 13, 2025 Vernissage: Friday, March 14, 5–8pm The exhibition is supported by Kulturrådet, Malmö stad, Region Skåne and Statens Kunstfond. Thanks to Lisa Strømbeck for Swedish proofreading. #frihedlighedoghiphop #tankhiphop

makertube.net/w/7EZnBc7…

By day, Thorkild Simonsen was the serious Social Democrat who served as Aarhus mayor from 1982 to 1997 before becoming Denmark’s Interior Minister. But few knew about his alter ego as “The Hip-Hop Mayor.”

After hours, Mayor Simonsen would exchange his formal attire for street clothes and visit underground hip-hop venues. Despite being in his 50s when hip-hop emerged globally, he embraced the culture and occasionally performed his own political rhymes.

His unofficial recordings circulated among Aarhus youth, translating municipal politics into beats and rhymes that connected with younger citizens. Even after becoming Interior Minister under Prime Minister Poul Nyrup Rasmussen, where he tackled tough immigration policies, Simonsen maintained his musical connections.

Thorkild Simonsen passed away in 2022 at age 96, leaving behind both his official political legacy and his surprising reputation as Denmark’s most unlikely hip-hop enthusiast.

Lyrics and music @emilio_hestepis

#aarhusernr1 #frihedlighedoghiphop #tankhiphop Aarhus er # 1 Opening at @kunsthalaarhus this June

We’re seeking experimental video works that explore alternatives to mainstream visual aesthetics and big-budget film production! WHAT: Video works embracing abstraction - no straightforward live-action footage LENGTH: Maximum 7 minutes DEADLINE: April 20, 2025 Selected artists will also curate a program from the submissions, running on our 24/7 accessible outdoor video kiosk in Copenhagen. Think abstract animation, AI-generated imagery, glitch art, 3D rendering, or any creative approach that reveals what can’t be “read” through conventional sight. Submit your work and help us make the invisible visible. Full details on our website: cp.oerum.org/call.html #experimentalvideo #videokiosk #opencall #abstractart #copenhagen #videoart #digitalart #animation #glitchart #contemporaryart #openair #artistopportunity

Just launched: “Automate The Artworld” - a small collection of web art experiments where I describe ideas to DeepSeek-Coder R1 AI and let it create websites. These works are generated locally on a server using recycled hardware at my studio, run entirely on certified green power. This approach is part of my strategy for damage reduction and building local digital infrastructure that doesn’t rely on energy-intensive cloud services. The results range from exactly what I wanted to wonderfully weird glitches - all exploring the collaborative space between artist and AI. Who’s the real creator? What new forms emerge? Check out the experimental prototypes at oerum.org/pico/Auto… #AutomateTheArtworld

Justice, compassion and beauty require neither religion nor ideology. Religion and ideology function as control mechanisms that appropriate existing human impulses. Some organizing structures and concepts are obviously beneficial in large complex communities such as contemporary western ones but they are not the source of justice, compassion and beauty and we should be careful not to think so lest we risk societal structures becoming instruments of control and concentrations of power rather than an expression of our commonality and shared circumstances.

DATA FLUENCIES EXHIBITIONS April–July 2025

“Data Fluencies: Rivulets” Boston Cyberarts (@bostoncyberarts) Boston, MA, USA Opening April 18, 2025

“Data Fluencies: Tributaries” Or Gallery (@orgallery) Vancouver, BC, Canada Opening May 29, 2025

“Data Fluencies: Confluence” Living Arts and Science Center (@lasclex) Lexington, KY, USA Opening June 6, 2025

Encompassing three thematically connected shows on view across North America in mid-2025, the Data Fluencies exhibition series investigates art’s potential for reimagining our often-narrow understandings of data and machine learning. The exhibitions will run between April and July at Boston Cyberarts (Boston), Or Gallery (Vancouver), and the Living Arts and Science Center (Lexington).

Each exhibition features work by six contemporary artists—Lai Yi Ohlsen (@laiyi____), Lani Asunción (@lani.asuncion), Jazsalyn (@jazsalyn), Kristoffer Ørum (@kristofferorum), Caroline Sinders (@carolinesinders), and Roopa Vasudevan (@rouxpz)—alongside experimental outputs from the broader Data Fluencies Project, an international research initiative based out of the Digital Democracies Institute at Simon Fraser University. The exhibitions aim to provide open public engagement with the research emerging from the larger project, and place it next to cutting-edge and critical work of artists examining similar themes and ideas.

Together, these artists and researchers offer us ways to (re)consider our relationships with the data that surrounds and drives our everyday lives—and perhaps find new routes to agency once we are able to do so.

The Data Fluencies exhibitions are generously supported by the Mellon Foundation (@mellonfoundation) and the Digital Democracies Institute at Simon Fraser University (Vancouver, @simonfraseru). Organized by Roopa Vasudevan, a co-PI on the Data Fluencies Project. Visual identity by PROPS SUPPLY (@props.supply).

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As I research Polish rappers for an upcoming show at Bunkier Sztuki, I’ve been thinking about how the speculative ai art project “Frihed, Lighed og Hiphop,” is real in unexpected and slightly disconcerting ways. When I have already imagined several Danish ’90s hip-hoppers becoming political figures, I never expected to encounter real examples like polish rappers Liroy’s journey from pioneering rapper to right-wing parliamentarian and Michał “Mata” Matczak, who declared his presidential ambitions for 2040. History is always weirder and more complex than anything I or the AI can dream up.
meta: www.youtube.com/watch & liroy www.youtube.com/watch #firhedlighedoghiphop #research #truthisstrangerthanart #monumnetsofafictionalpast #3SeasArtFestival

Join us for the opening seminar for the project Human-AI Collaboration: Imaginaries, Interventions, Interfaces (HAIC-III), with keynote by Olga Goriunova

Generative artificial intelligence complicates the ways in which we express and understand ourselves with and on computers. Our relations to the likenesses and personal styles of ourselves and our peers are somewhat rustled by technologies that both imitate and (often) banalize those very likenesses and styles. How do these neural network-induced technologies affect the ways in which we understand and negotiate our being as subjects and how do they relate to a broader data and platform culture? This opening seminar of the research project Human-AI Collaboration: Imaginaries, Interventions, Interfaces (HAIC-III) marks the beginning of addressing questions such as, how does generative artificial intelligence affect the conditions under which we express and understand ourselves? At the seminar, we will examine subjectivation and self-expressing with(in) generative artificial intelligence, which happens in a counterbalance with algorithmic interpellation and continuous extension of digital/ideal subjects.

Olga Goriunova, Professor of Media Arts at Royal Holloway, University of London, will deliver a keynote on 22 May and participate in a master class workshop for PhDs on 23 May together with the other members of the research group.

About HAIC-III: Facing the rapid and continuous proliferation of generative artificial intelligence throughout society, HAIC-III aims to combine humanistic methods with art and design practices to understand these emerging technologies in a wider context of critical data studies, digital aesthetics, and software studies, and to nourish a critical, contentious, and practice-based notion of generative artificial intelligence as an aesthetic and cultural interface.

The seminar is supported by the Independent Research Fund Denmark, grant ID 10.46540/4256-00095B Preliminary program 22 May (location TBD)

10.00-10.15: Introduction to the seminar 
10.15-12.15 (incl. brief break): Olga Goriunova: Ideal Subjects: Abstract People in Data and Culture (abstract & bio below). 
12.15-13.00: Lunch 
13.00-15.15 (incl. brief break): Presentations from HAIC-III project members: Kristoffer Ørum, Søren Pold, Kristin Veel, Malthe Stavning Erslev 
15.15-15.45: Coffee break  
15.45-16.15: Presentation by Blue Cliff (TBC): What lies beneath
(working title) - Our relationship with the digital world, Ai and digital communication. The performance is a collaboration between Yael Gaathon (choreographer and performer), Christoffer Brekne (video artist) and kristian hverring (composer) 
16.00: End of seminar 

23 May (Aarhus Universitet, Åbogade 34 , 8200 Aarhus N. Building 5342 (ADA), room 333)

Masterclass for PhDs: 9.30-13.00

Registration: https://au.phd-courses.dk/CourseCatalog/ShowCourse/1746

AI & Identity: Ideal/digital subjects and their production through profiling, subjectivation, algorithmic interpellation and enunciation. How can we interpret, read and see this, which options does it leave for art, literature, music and critique?

For the workshop, we are looking for PhDs working with topics within generative AI, platform studies, social media and questions of identity.

At the workshop participants will be asked to give short presentations (10 minutes) and prepare by enegaging with a selection of approx. 5 topical readings. Participation in the workshop and opening seminar will award 1 ECTS. ABTRACT & BIO for Olga Goriunova’s keynote, May 22 10.00-12.00

When I am profiled on a movie streaming platform or given the truth of my sleep by my watch, what is the “me” that I have to deal with? The digital subject composed of my data and the data of others, evaluated and spun to make predictions is not my shadow but an abstraction whose making requires some distance. Distance is also core to the idea of the subject’s interiority (looking at, contemplating oneself) that we know from the thinking subject of modernity. The distance of digital subjects, therefore, is not only about fractured noisy data groupings but builds on how we are trained to be subjects. That is why digital subjects are successful: we know them as processes that result in truths, about us and about the world, which we are trained to want in order to become ourselves. Asking how digital subjects as patterns “come back” to us and compel us to want their “truths”, I answer that it is through configuring desire in relation to what is abstract that we learn to orientate ourselves towards calculations and projections now managed by data analytics and AI. From desiring the best test result to desiring the truth of one’s music-listening personality revealed by Spotify, it is about desiring abstractions that are ideal in two meanings of the word: as results of mathematical operations and something to aspire to or confront. The question then is how to make and want different ideals: after all, isn’t that key to what the arts are supposed to be about?

Olga Goriunova is Professor of Media Arts, Royal Holloway University of London. She is the author of Ideal Subjects. Abstract People in Data and Culture (forthcoming 2025), Bleak Joys. Aesthetics of Ecology and Impossibility (with Matthew Fuller, 2019), Art Platforms and Cultural Production on the Internet (2012) and editor of Fun and Software: Exploring Pleasure, Pain and Paradox in Computing (2014). She was a co-curator of Readme, international touring software art festivals, 2001-2005 and Runme.org software art repository (2003+). She is also a founding co-editor of Computational Culture, a Journal of Software Studies.

https://darc.au.dk/blog/nyhed/artikel/default-2bcd7609df

(Photo: Ada Ada Ada: Being represented by data is like losing a part of yourself, 2024)

Er du bekymret over en person, som viser tegn på radikalisering mod vores fælles værdier? Frygter du, at de tiltrækkes af ekstremistiske økonomiske bevægelser eller taler om “frihed fra staten”? Du er ikke alene med din bekymring. Find hjælp og vejledning på oerum.org/antiradik…

At the Edge II – Jamila Drott, Maxime Hourani, Maia Torp Neergaard, Kristoffer Ørum Curator Kevin Malcolm

14 March – 13 April 2025 Vernissage Friday 14 March 5–8pm

At the Edge II builds thematically on previous exhibition projects, where questions of place and identity, especially in relation to architecture and urban planning, were framed. At the Edge Part I was shown at Vermilion Sands in Copenhagen in the autumn of 2024. Part II is an extension of a first exhibition that will have a clearer connection to Malmö as a place and context. This series of exhibitions examine the role of the artist and the art space in urban transformations, while being situated in broader discussions about place, capitalism and identity, urban space, speculation and gentrification.

The exhibition features three of my AI-generated works that reimagine Malmö’s urban landmarks. These speculative images visualize alternative histories for the Old Gate at Folkets Park, Drottninggatan 6, and Malmö’s New City Hall. By blending historical elements with imagined possibilities, the works invite viewers to question how these spaces might have evolved differently through community use, resident modification, and the mixing of formal governance with street expression. The digital images complement the exhibition’s exploration of how urban spaces both shape and are shaped by the people who use them, offering new perspectives on Malmö’s architectural stories and potential futures.

Thanks to Lisa Strømbeck for Swedish proofreading @jamiladrott #maximehourani @maiatorpneergaard @kristofferorum @ks_malcolm @vermilion_sands

The exhibition is supported by Kulturrådet, Malmö stad, Region Skåne and Statens Kunstfond. @kulturradet.se @malmo_stad_officiell @regionskane @statenskunstfond

Når krigen kommer hjem til os, hvem vil så byde os fra nationer, der har vendt verden ryggen, velkomne?

Når krigen kommer, har vi så endelig åbnet ørene for de færdigheder og den viden, de der er flygtet hertil bar på?

Når krigen kommer, og vi ikke længere hører til noget sted, vil vi så opgive vores skikke og traditioner for at “passe ind” der, hvor vi nu engang tilfældigvis havner?

Når krigen kommer, som den altid gør, og imperiet vi lever i bliver et andet, hvordan vil vi så huske de magter, vi tækkes i dag?

Når krigen kommer, vil vores grænser, som vi har vogtet så nidkært, pludselig blive til linjer i sandet, som vi selv må krydse med bøjet nakke?

Når krigen kommer, vil vi så ønske, at vi havde lært os de sprog, vi kaldte fremmede, i det land, vi må forlade?

Når krigen kommer og tvinger os på flugt, vil vi så lære vores børn at bære vores kultur med sig, eller vil vi prøve at glemme, hvad der var engang?

Når krigen kommer, og vi må søge husly blandt fremmede, vil vi da huske, hvordan vi selv lukkede døren for dem, der bankede på?

Når vi igen bliver en del af folkevandringer, vil vi så stadig klamre os til de identiteter, vi opdeler verden i?

Når krigen kommer, og vi måske søger asyl i fremmede lande, vil de så kræve, at vi består sprogprøver på deres modersmål inden for tre år for at få lov til at blive?

Når krigen kommer, og vi flygter fra vores hjem, vil vi så acceptere at leve i udkanten af samfundet, i særlige “danskerlandsbyer”, adskilt fra den lokale befolkning?

Når krigen kommer, vil vores uddannelser og erfaring så pludselig være værdiløse i et fremmed system?

Når krigen kommer, og vi må forlade alt og rejse let, vil fremmede stater så konfiskere vores smykker og opsparinger for at finansiere vores ophold?

Når krigen kommer, og vi må tilpasse os nye kulturer, vil vi så blive beskyldt for at leve i parallelsamfund, når vi søger sammen med andre danskere og holder vores traditioner i hævd?

Når krigen kommer, og vi boligplaceres i områder med mange andre danskere, vil vi så vågne en dag til beskeden om, at vores kvarter nu er kategoriseret som en “hård ghetto”? Vil myndighederne tvinge os til at flytte, fordi der er for mange som os samlet på ét sted? Vil vores børn blive tvunget i institutioner 25 timer om ugen for at lære den nye kultur og det nye sprog, mens vores naboer af anden oprindelse kun behøver at sende deres børn i institution 10 timer?

Når krigen kommer, vil vi da opleve, at vores lejligheder rives ned, fordi områdets andel af “danske flygtninge” skal reduceres til under 30 procent, og at vi får halvt så lang tid som andre til at finde et nyt hjem? Vil vi forstå betydningen af at blive stemplet som et “samfundsproblem” udelukkende baseret på vores oprindelse og antallet af os i samme område?

Når krigen kommer, vil vi så blive mødt med krav om, at vi skal hilse embedsmænd på bestemte måder for at bevise vores villighed til assimilation?

Når krigen kommer, og vores børn leger med de lokale børn, vil de så blive kaldt dårligt integrerede, hvis de taler dansk sammen i skolegården?

Når krigen tvinger os på flugt, vil vi så blive mødt med mistro, når vi fortæller vores historier, og blive bedt om at bevise, at vi er “ægte flygtninge”?

Når krigen kommer, og det gør den jo før eller siden, bliver det så klart at alle dem vi kalder “fremmede”, er os selv i morgen?

#stuffiwonderabout #tingjegspørgermigselvom

The selection process is now open for galleries seeking to represent groundbreaking digital artist Kristoffer Ørum for the upcoming year. Selected galleries will receive:

Enhanced cultural capital through association with Ørum’s innovative digital practice Academic legitimacy through critical theory engagement Exposure to new collectors and institutional networks Featured placement in digital publications and academic journals

This highly competitive open call evaluates galleries on their ability to provide value to artists through revenue generation, marketing resources, and commitment to artistic freedom. APPLICATION DEADLINE: March 31, 2025 NOTIFICATION: By April 15, 2025 Submit your gallery’s application at: oerum.org/opencall (link in bio) Limited positions available. All applications will be reviewed by a selection committee.

Med udgangspunkt i Local Ruptures and Technological Reimaginings og den bredere HAIC-III ramme ønsker jeg at udforske, hvordan man kan arbejde uden for standardiserede rammer. Hvad sker der, når man bevidst vælger ikke at passe ind? Hvordan kan tværdisciplinære positioner udfordre både AI-teknologi og kunstnerisk praksis? Samtidig ønsker jeg at udvikle alternative tilgange til AI, hvor systemerne fremhæver lokale kulturelle udtryk i stedet for at ensrette dem.

Jeg er optaget af at engagere mig kritisk med teknologi og undersøge, om teknologiske begrænsninger kan bruges kreativt. Kan fejl og glitches afsløre AI’s bias og samtidig åbne nye veje for eksperimenterende praksisser? Jeg vil også arbejde på at skrive på et sprog, der både er akademisk og tilgængeligt, så komplekse ideer formidles uden at blive unødigt lukkede.

Jeg har længe betragtet mig selv som en “pseudo-akademiker”, da jeg har bevæget mig i akademiske kredse uden at være en del af dem. Kunst har altid været min måde at forstå verden på – især nye teknologier som AI. Jeg har tidligere søgt ph.d.-forløb uden held, men nu er jeg her. Hvad betyder det for min praksis at træde ind i denne kontekst? Hvad kan jeg lære af den, og hvad kan jeg bidrage med?

Langsigtet tænkning er en anden vigtig grund til at tage en PHD for mig. Hvordan kan en kunstnerisk praksis vokse ud over enkeltstående projekter og konstante fondsansøgninger? Hvilke nye strategier og metoder opstår når man er en del af et akademisk fællesskab? Og hvordan kan man være med til at bygge bro mellem institutioner og græsrødder, så flere uden for de etablerede kredse får adgang til viden og ressourcer? Jeg håber at kunne være med til at rejse en bredere diskussion om teknologisk lighed og kulturel mangfoldighed ved at udfordre dominerende utopiske og dystopiske fortællinger om AI.

Jeg ser frem til at læse mere, skrive mere og tale mere om min praksis og forskning. Det er en luksus for en periode ikke at bekymre sig om økonomi, men i stedet koncentrere sig om at udvikle sin praksis og tænke kritisk over, hvad det vil sige at være kunstner i en tid med hastigt udviklende teknologi. Måske finder jeg undervejs en bedre model for mine aktiviteter – en model, der bygger bro mellem kunst, akademia og teknologiudvikling. Dette er nogle af de overvejelser, der optager mig lige nu, inden jeg rigtig ved hvad en kunstnerisk PHD er.

De fleste billedkunstneriske ph.d.-forløb i Danmark er finansieret af Novo Nordisk Fonden og er placeret på Det Kongelige Danske Kunstakademis Billedkunstskoler. Min vej er dog anderledes. Min ph.d. er en del af forskningsprojektet Human-AI Collaboration: Imaginaries, Interventions, Interfaces (HAIC-III), hvor jeg samarbejder med Søren Bro Pold (PI), Kristin Veel (Co-PI) og Malthe Stavning Erslev (deltager).

Projektet undersøger generativ AI (f.eks. ChatGPT, Bard, Midjourney) ud fra et kunstnerisk og humanistisk perspektiv. Hvordan kan kunstneriske og designbaserede tilgange adressere problematiske aspekter af generativ AI? Hvordan kan vi skabe mere nuancerede forståelser af, hvad AI betyder for vores forestillinger om samfund og kultur?

Mit eget ph.d.-projekt, Local Ruptures and Technological Reimaginings, undersøger skæringspunktet mellem dansk hiphopkultur og arbejderbevægelser gennem lokalt implementerede AI-systemer. Jeg ser teknologiske begrænsninger ikke blot som forhindringer, men som produktive kræfter. Kan man vende tekniske begrænsninger til noget positivt? Hvordan kan fejl og glitches afsløre AI’s bias og skabe alternative måder at bruge teknologien på?

Som en central del af min ph.d. laver jeg kunstneriske eksperimenter i praksis med såkaldt kunstig intelligens og lokale digitale infrastrukturer. Disse eksperimenter tager form af billeder, videoer og andet materiale skabt fra et billedkunstnerisk perspektiv. Gennem den praktiske kunstneriske proces udforsker jeg, hvordan AI-teknologier kan implementeres og omformes til at reflektere lokale udtryksformer og kulturelle kontekster, frem for at reproducere globale, standardiserede æstetikker og fortællinger.

Min ph.d. er finansieret af Danmarks Frie Forskningsfond, hvilket er usædvanligt for kunstneriske ph.d.-forløb. Derfor er jeg placeret på Københavns Universitet i stedet for et kunstakademi. Hvilke muligheder opstår i dette skift, og hvordan kan man skabe en praksis, der navigerer mellem kunst, akademia og teknologi?