Kristoffer Ørum
The website keeps itself up to date. He does not.
Some of it only exists as a photograph now.
A record-keeper. The website is the work.
Works with machines that are confidently wrong.
Nothing digital about it. A screen is an object, and objects sit in rooms.
An artist who makes things up about real places.
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
Using AI, familiar sites are transformed into speculative visions, such as Karolinelunden as a DIY amusement park or Aalborg Shipyard taken over by its workers. Aalborg Is The Future, 2024
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
The exhibition was part of SixtyEight Art Institute's two-year programme "Modes and Notes on the Local". Signal_Crayfish, 2020
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
The wireless transmissions and video projections created an atmosphere where technology and nature intersected in unexpected ways. Mundane Monsters, 2022
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
All masks were thoroughly cleaned and sprayed with disinfectant after each user, with lending against deposit such as a driver's license or telephone. According to the Nose, 2021
Created in 2019, the work was exhibited by Radar Contemporary as an online piece. Vladimir's Tongue, 2020
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 exhibition was part of a series of events organised by Kunsthal for Maritim Æstetik, which also included publications, debates, food events, and bus tours. Djurs Øhav, 2020
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
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 outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
The series also exists as gallery installations, an artist's book and 3D prints; this is its web form. Would You Like to Know More, 2017
Exhibited in several international contexts, the piece was shown in The Blender’s Orbit (Kingly Court, London), Time Pop 2 (Prince Charles Cinema, London), and Loop Pool (Raum für Projection, Oberhausen). The Perfect Wave, 2004
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
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
The work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019
The photographs were found in a cabin after the vessel had spent seven days on the seabed, having been exposed to three atmospheres of pressure and salt water. Depth Estimation, 2019
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
Or the years when rap lyrics were about helping at home and taking good care of elderly citizens? Frihed, Lighed Og Hip-Hop, 2023
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
The launch (December 7, 2024) consisted of a performative city walk, a community meal, and a concert with Christian Høgh, organized with f.eks. and supported by multiple cultural partners. Aalborg Is The Future, 2024
The work forms part of De Tabte Runesten, a group exhibition returning nine lost cultural artefacts to Rundetaarn through the visions of contemporary artists. The Good, the Lost, and the Beautiful, 2025
By establishing rules and constraints—writing without interruption, juxtaposing unrelated images—the Surrealists sought to bypass rational control and provoke unexpected associations. Watershed, 2025
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
The installation is accompanied by a series of AI-generated postcards that reimagine Viking life in the style of idealised holiday imagery. The Good, the Lost, and the Beautiful, 2025
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
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
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
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
The exhibition consisted of stencils painted with beetroot juice, 3D-printed noses and beetroots, inkjet prints, a webcam and screens of various sizes with nose recognition, texts and animation. Putin's Nose, 2019
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 machine's interpretation is not just a poor copy of reality; it creates a new representation with its own logic and uncanny aesthetic. Speaker 1, 2026
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019