Kristoffer Ørum
Not a joke.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Not research. The works were made first and explained afterwards.
Comedy.
A teacher who keeps a studio in order to have something to teach from.
Research. Somebody is going to have to examine it.
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
The exhibition continued this approach, combining speculation with a documentary style to produce objects that felt like remnants of possible futures. The End of the Universe as We Know It?, 2007
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
The project was presented as part of the Alternativa 2011–2012 festival, a contemporary art festival in Gdańsk that focused on experimental and interdisciplinary approaches to art and culture. A Subjective History of Gdańsk, 2011
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
Sometimes he has time to update it, sometimes he does not.
It suggests that the media of the future may not converge into a single stable format, but instead coexist as a patchwork—some fostering clarity, others producing estrangement. Watershed, 2025
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
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
The opening included a performance component set in an alternative past, presenting counterfactual work that narrated fictional relationships between political movements and cultural expression. Mr. Spray, 2024
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
Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
For me, these are not just errors, but moments of strange beauty and surplus meaning. Speaker 1, 2026
The work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
The photo album was discovered among the salvaged items when the ship was recovered. Depth Estimation, 2019
By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010
This approach shares a lineage with experimental practices such as Surrealist automatic writing and collage. Watershed, 2025
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
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 encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
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
This invisibility operates on several levels. Watershed, 2025
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
This video asks a question that sits at the heart of our digital lives: how do we appear to a machine? Speaker 1, 2026
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
Facial features in the collected images were identified using Stasm, an open-source software package for facial recognition originally developed for biometric applications. Recognised Faces, 2014
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
The installation included various nose-related works including "My Nose", "Nose detector", and "Nose Archive", alongside "Face of Russia". Putins Nose, 2018
Her head was made of cardboard squares, and as she walked she produced sad and disturbing sounds audible to late-night strollers and joggers. The Ballehage Woman, 2009
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009