Kristoffer Ørum
An artist who makes things up about real places.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Works with animals that have not agreed to it.
A documentary practice. Every work here has an address and a date.
Collaborative. Most of it was made with other people.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Each monument is situated in a specific district or moment in Kraków’s layered history, blending archival poetics with infrastructural speculation. Monuments of a Fictional Past (Kraków Edition), 2025
jerklædte Misforståelser (Feathered Misconceptions) is a fifteen-minute associative performance commissioned by Ny Carlsberg Fondet for their annual celebration of their founder on 28 February 2018. Feathered Misconceptions, 2018
As tension builds, the man gradually dissolves into the screen, becoming one with the flickering patterns. Once We All Walk through Solid Objects, 2007
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
One is pink and perforated, carrying a crown and, in mirror writing, "Find them, eat them & enjoy them" — the Danish Nature Agency's advice on the invasive signal crayfish. Signal_Crayfish, 2026
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
In the video, Ørum reflects on the human body as data by visually overlaying biometric patterns, abstracted motion, and rhythmic shifts of light and texture. Data Kroppe, 2017
We are collectively searching for new grammars of public discourse. Watershed, 2025
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
Ordinary objects—such as a box of detergent or a web browser—become the basis for fictional universes, playful interfaces, and alternative representations of the data embedded in daily life. Day to Day Data, 2008
It aligns with the idea that technology, even when shaped by exclusionary structures, can be repurposed towards shared imagination, local autonomy, and slower forms of innovation. Diffused States (Vancouver), 2025
The work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
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 talk is about not knowing whether it is a lecture or a performance, and about deciding not to settle the question. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
We are steered by algorithms that curate which images reach us. Watershed, 2025
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
The screens displayed a new page every few minutes, allowing both visitors to the medieval church and local citizens passing through the square to encounter the rewritten history. Roskilde Parahistory, 2009
They are the most revealing parts of the process. Speaker 1, 2026
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
The pieces incorporated Wi-Fi network names printed on crayfish bodies, casting the invasive species as a digital hybrid creature living within communication networks. Signal_Crayfish, 2020
That is part of the work rather than a fault in it. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
At Sophienholm it stands outdoors in the park, inside a stone grotto. Affluence without abundance, 2025
This invisibility operates on several levels. Watershed, 2025
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
Listening Without Ears consists of 3D printed copies of everyday objects that transcribe what is said in the exhibition space and print it out. Listening Without Ears, 2019
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
This Brownfield Wonderland might very well appear once again when this project is long forgotten, and current norms of what is useful and productive are forgotten. Brownfield Wonderland, 2022
They draw on the advertising industry’s most simplified identity categories and support algorithmic preferences. None of These Images Are of Me, 2025
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022
Children and young people modified everyday objects such as chairs, umbrellas, tools, or clothing into hybrid sculptural forms. Mundane Heroics, 2019
Created in 2019, the work was exhibited by Radar Contemporary as an online piece. Vladimir's Tongue, 2020
Rather than corporate development, this speculative trajectory imagines ternary computing as evolving through grassroots cultures of experimentation and resistance. Diffused States (Boston), 2025
Several video works were part of the exhibition. Djurs Øhav, 2020
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
The result is a fleeting, fractured archive of the collective present—an algorithmic shadow of daily events. https://oerum.org/watershed/ Watershed, 2025