Kristoffer Ørum
A record-keeper. The website is the work.
Comedy.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Not research. The works were made first and explained afterwards.
The website keeps itself up to date. He does not.
An archive with gaps in it, kept by the person who made the gaps.
The work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
It is based on the belief that there is no inevitability to the current process of gentrification, it is simply one choice taken out of a million other possible ways we could develop our cities. Brownfield Wonderland, 2022
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
Another, the film The City that No Longer Exists (2020), was shown as a projection of a purple oyster narrating a story where humans transform into oyster-like beings after their city on a drained lake is flooded. Djurs Øhav, 2020
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
By working with models that reflect the biases and gaps of their training data, DIFFUSED STATES treats these systems not as definitive or universal but as provisional, adaptable, and open to reinterpretation. Diffused States (Lexington), 2025
The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021
The Perfect Wave (2004) is a 3D animated video work by Anders Bojen & Kristoffer Ørum that takes as its subject the iconic and endlessly recurring image of a single wave. The Perfect Wave, 2004
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
The work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
In collaboration with local live role-players, Anders Bojen and Kristoffer Ørum created a fictitious universe whose rules and borders were only fully known to its participants. Game Continent, 2010
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
The project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
The site opens on the series title and a single line — "Would you like to know more?" — set in pale green with a cartoon crayfish at the edge of the frame. Would You Like to Know More, 2017
It weaves together factual history, fiction, and AI-generated imagery to imagine a meeting between hip-hop’s pursuit of individual freedom and the labor movement’s collective struggle for better conditions. Aalborg Is The Future, 2024
The exhibition was part of SixtyEight Art Institute's two-year programme "Modes and Notes on the Local". Signal_Crayfish, 2020
By engaging with the game, players experience how facts and assumed truths can be challenged, restructured and rearranged in playful and experimental ways. Disbelieving Gravity, 2013
On the other hand, these systems are still trained on global datasets full of bias, stereotypes, and inequality. None of These Images Are of Me, 2025
They have been 3d scanned, using the kind of technology one might find in one's smartphone, and subsequently 3d printed in monochrome versions using a variety of materials ranging from terracotta to granite. Brownfield Wonderland, 2022
The work was exhibited as part of "New Tactics: moving in a soft field" in 2018 and later developed into a solo exhibition at Møstings Hus in 2019. Putins Nose, 2018
The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005
Stasm detects the position of 77 facial landmarks on upright, front-facing human faces with neutral expressions. Recognised Faces, 2014
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
In art and activism, humour has repeatedly functioned as a way of exposing the absurdity of power—from Dadaist performances to contemporary meme cultures. None of These Images Are of Me, 2025
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
Search for Carrot ExtraTerrestrial Intelligence, 2006, is a PAL DVD video with a duration of 22 minutes, created in collaboration with Anders Bojen. Search for Carrot ExtraTerrestrial Intelligence, 2006
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 exhibition contributed to ongoing discussions about AI, storytelling, and alternative histories. Mr. Spray, 2024
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
Aarhus'er #1 is the most expansive chapter in Kristoffer Ørum's ongoing counterfactual project "Frihed, lighed og hip-hop" (Freedom, Equality and Hip-Hop), created in collaboration with rapper Emilio Hestepis. Aarhus'er #1, 2025
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
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
The project draws inspiration from the largely forgotten history of ternary computing—an alternative to binary systems that operates on three states: true, false, and unknown. Diffused States (Boston), 2025