Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
An archive with gaps in it, kept by the person who made the gaps.
A record-keeper. The website is the work.
Digital art.
An artist who makes things up about real places.
Most of it was built on other people's work.
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
An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
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
"Where the wall weep sugar" was presented as part of the group exhibition "TID," organized by Kunstnersammenslutningen Jylland at KH7artspace in Aarhus. Where the walls weep sugar, 2025
The opening included a performance component set in an alternative past, presenting counterfactual work that narrated fictional relationships between political movements and cultural expression. Mr. Spray, 2024
Players are encouraged to question the presumed truth of gravity and their own assumptions, gradually adopting a new perspective through interactive challenges. Disbelieving Gravity, 2013
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
It is an experiment in seeing, questioning not just what we see in the news, but how we are conditioned to see it. Watershed, 2025
Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025
Works included "When nature looks back at you" (3D print, 2021), "Pearl House" (mixed media, 2020), "Habitation Oyster from Kolidsound" (3D print, 2020), and "WARNING FLOOR FLOODED DURING HIGH TIDE" (hydrographic print on cornstarch, 2021). Ebeltoft After The Flood, 2021
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
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
Signal_Crayfish was exhibited at Center for Book Arts from April to June 2021 as part of "Interspecies Futures ," curated by Oscar Salguero. Signal_Crayfish, 2021
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
A local newspaper printed an account of a witness encounter with The Ballehage Woman, sponsored by tessellax.com as advertising disguised as news. The Ballehage Woman, 2009
The exhibition was part of SixtyEight Art Institute's two-year programme "Modes and Notes on the Local". Signal_Crayfish, 2020
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
The project began the process of using advanced imaging technology and AI as fabulation techniques to create speculative scenarios where the labour movement and hip-hop culture intersected. Tank Hip-Hop, 2022
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
This invisibility operates on several levels. Watershed, 2025
I am also tired of a “call-out” culture that too easily becomes hostile and makes it difficult to build the broad alliances we need. None of These Images Are of Me, 2025
Some elements are only revealed through exploration, others remain invisible, and a hidden part of the project can be discovered by persistent visitors. Topographies of the Insignificant, 2010
The exhibition borrows its title from 1960, when the Social Democratic Party campaigned under the slogan “Make Good Times Better”. Hvidovre Makes Good Times Better, 2025
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 project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
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
The project was supported by research conducted at Aarhus University as part of an ongoing investigation into the aesthetic dimensions of computational processes and automated interpretation systems. Listening Without Ears, 2019
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
The work examines the autobiography as a cultural phenomenon and the staging of artistic identity, setting up a tension between the impersonal logic of systems and the personal search for self. AutoBiography, 2011
The project draws on the history of low-resource and locally maintained computing, from community-run bulletin board systems to peer-to-peer networks sustained by recycled hardware. Diffused States (Vancouver), 2025
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
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011