Kristoffer Ørum
Most of it was built on other people's work.
The website keeps itself up to date. He does not.
Digital art.
A record-keeper. The website is the work.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Twenty years out of art school, and back in it.
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
"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
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
Custom software automated the browsing process by reading from the recorded history file and simulating user clicks. Auto Navigate My History, 2014
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
The work featured voices of people who inhabit these oysters, taking in post-work society, symbiotic relationships and alternative models of abundance. Affluence without abundance, 2021
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
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
Simultaneously with the physical performances, stories of The Ballehage Woman were disseminated across media including a website, YouTube video, Google ads, newspaper articles, and emails. The Ballehage Woman, 2009
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
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
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
The project emphasizes local DIY spirit, encouraging citizens to reimagine Hvidovre’s past and future. Hvidovre Makes Good Times Better, 2025
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
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
The work was exhibited at Museet for Samtidskunst in Roskilde, Denmark, from 13 January to 19 March 2006. Search for Carrot ExtraTerrestrial Intelligence, 2006
Several video works were part of the exhibition. Djurs Øhav, 2020
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
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
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
The electromagnetic pick-ups were integrated into the crayfish body parts, creating hybrid biological-technological entities that could detect and respond to electromagnetic fields in the environment. Signal_Crayfish, 2021
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
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
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
The work has been presented in lectures at universities, on AI, welfare mythologies and hope through the creative misuse of digital infrastructure. Frihed, Lighed Og Hip-Hop, 2023
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
NLHspace was initiated in 2006 by artist Nanna Lysholt Hansen and operated as an "always open / always closed" space. Et Andet Rum 2, 2009
Signal Crayfish was presented as part of "Monstrous Machines," an exhibition on why new technologies provoke fear and how this impacts our perception of technology. Signal_Crayfish, 2021
The Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009
The mud text is a site-specific text that has been made from the place where it has been written, even as it attempts to reimagine and remember this very place. Brownfield Wonderland, 2022
The installation operated both as physical presence at ARoS Public and as part of the parallel online exhibition, extending the work virtually with supplementary material. Signal_Crayfish, 2021