Kristoffer Ørum
Mostly it is admin.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
An archive with gaps in it, kept by the person who made the gaps.
Collaborative. Most of it was made with other people.
Not research. The works were made first and explained afterwards.
A documentary practice. Every work here has an address and a date.
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
Monuments of a Fictional Past (Kraków Edition) is a speculative archive of ephemeral monuments that emerge, dissolve, and resurface across Kraków’s historical and imagined timelines. Monuments of a Fictional Past (Kraków Edition), 2025
When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 2025
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
It was curated by Nanna Lysholt-Hansen and supported by Vesterbro Lokaludvalg. Et Andet Rum 2, 2009
A protestor’s sign, a celebrity’s face, a patch of sky, or a piece of rubble—all are treated as equivalent grayscale image data to be segmented and archived. Watershed, 2025
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
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
The 3D printed objects served as camouflaged recording devices, appearing as innocuous everyday items while performing the technical operation of speech-to-text conversion. Listening Without Ears, 2019
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
The museum basement acted as a “rabbit hole,” filled with props, relics, tables, and charts that grounded the fictitious world. Game Continent, 2010
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 postcards extend this blending of eras, presenting scenes where identity, memory, and cultural imagination converge and transform. The Good, the Lost, and the Beautiful, 2025
Additional elements included a video installation where visitors had Putin's face projected over them, making them momentarily become Putin speaking about Russian male superiority and Western decadence. Putin's Nose, 2019
The same work was shown at Keramoda, Lønstrup, in 2021. Affluence without abundance, 2025
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
Signal_Crayfish (2021), the book work, shown in Futurity Library: Disobedient Artists' Books in the Postbook Age at the San Francisco Center for the Book, 25 April to 26 July 2026, curated by bex ya yolk. Signal_Crayfish, 2026
In this way, Ørum reconsidered the relationship between national identity, food, body and surveillance, hoping to open up an identity model where it is possible to be foreign, Danish, body and digital representation at the same time. Putin's Nose, 2019
Rather than scaling towards planetary computation, this speculative trajectory follows a slower, more situated evolution—one in which algorithms adapt to the languages, histories, and needs of their immediate context. Diffused States (Vancouver), 2025
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
The installation featured speculative scenarios about living arrangements including large oyster habitations. Ebeltoft After The Flood, 2021
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
Each of the 26 participating artists presented a single work, and the audience was permitted to view each piece for exactly one minute. Where the walls weep sugar, 2025
The work documents their attempts to deconstruct a person into data: to apply a label, assign a tracking ID, map the body's motion onto a skeletal grid, and strip a voice down to plain text. Speaker 1, 2026
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
Spray was presented as both an exhibition and performance at Friisland's Center for Performance Art during Art Matter festival. Mr. Spray, 2024
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
Day to Day Data highlights the poetic, speculative, and sometimes humorous dimensions of personal and domestic data. Day to Day Data, 2008
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005