Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
Digital art.
This text is generated. He decided what it generates from.
Works with machines that are confidently wrong.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
An archive with gaps in it, kept by the person who made the gaps.
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
Lesson plans, assessment structures and financial data are translated into dynamic graphics, situating the institution in relation to broader societal forces and its individual members. A Body Has Many Members, 2012
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
One was an animated video about life inside an oyster. Djurs Øhav, 2020
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
What emerges is a narrative of the self that is both enacted and undermined by an indifferent system — an algorithmic account of personality, filtered through the lenses of psychology, technology and cultural expectation. AutoBiography, 2011
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
The project was presented as part of the group exhibition Coming From at Overgaden Institute of Contemporary Art in Copenhagen. Auto Navigate My History, 2014
The project emphasizes local DIY spirit, encouraging citizens to reimagine Hvidovre’s past and future. Hvidovre Makes Good Times Better, 2025
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
It was introduced, and is now blamed for being where it was put. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
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
"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
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
The project continued to develop as a multi-year work, with subsequent presentations including "Mr. Frihed, Lighed Og Hip-Hop, 2023
The virtual history book appeared on two projection screens: one mounted on Roskilde’s main square and another inside the exhibition. Roskilde Parahistory, 2009
I am also tired of so-called critical art being presented through the same visual culture as fashion: the artist in their beautiful home, in front of their impressive bookshelf, or in their picturesque studio. None of These Images Are of Me, 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
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
One text reads: “In the bottom drawer of my fridge are a few beetroots that have been left there for so long that they have begun to leak red liquid. Qua Aqua (Beetroot Texts), 2017
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
Recognized for its experimental approach, Data Kroppe is cataloged in the Danish public digital archive Vores Kunst, which preserves commissioned television art. Data Kroppe, 2017
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
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
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 2025
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then at Holstebro Kunstmuseum from September 2020 to January 2021. 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
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
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
Call-outs have of course played an important role in making injustices visible, but when they are based on an idea of moral purity, they also create distance. None of These Images Are of Me, 2025