Kristoffer Ørum
Works with machines that are confidently wrong.
Not a joke.
A documentary practice. Every work here has an address and a date.
Nothing digital about it. A screen is an object, and objects sit in rooms.
The website keeps itself up to date. He does not.
A lot of it is waiting for a render to finish.
It takes the current development of the site of the art space as its point of departure, arguing for the often-overlooked qualities and potential of brownfield sites like it. Brownfield Wonderland, 2022
The artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
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
Recognised Faces unfolded publicly on a dedicated Tumblr, where the daily composites accumulated into a year-long portrait of both an individual and the internet’s visual culture at large. Recognised Faces, 2014
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025
The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021
The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
The city of Aarhus serves as both source and subject, remixed through the lens of local imagination and global street culture. Aarhus'er #1, 2025
This process dismantles the images into fragments by “flooding” a grayscale version of an image from its darkest points to its lightest, just as rainwater would fill a real-world mountainous landscape from its lowest valleys. Watershed, 2025
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021
Each piece suggested both familiarity and a shift in function, as common domestic items appeared in new materials, configurations, and with networked capabilities. Invisible Objects, 2016
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
The installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
The work was part of "Partners," an experimental exhibition at Vejle Kunstmuseum that paired seven artists with seven local associations. Everyday Heroes, 2019
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
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 work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020
Soap Particles (2005) is a 3D animation work exhibited in two venues: as part of a solo show at Q, Copenhagen (20–29 May 2005) and in the group exhibition Critical Mass at Skulpturens Hus, Stockholm (3 May 2005). Soap Particles, 2005
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
Each day, the system generated a new composite face from images found via Google’s lists of top search terms. Recognised Faces, 2014
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
The exhibition consisted of stencils painted with beetroot juice, 3D-printed noses and beetroots, inkjet prints, a webcam and screens of various sizes with nose recognition, texts and animation. Putin's Nose, 2019
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
The project questions the assumption that it is "easier to imagine the end of the world than the end of the welfare state" (paraphrasing Slavoj Žižek). Melting State, 2020
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
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
The project builds on Ørum's ongoing work "Freedom, Liberty, and Hip-Hop," which envisions alternative Danish histories. Monuments of A Fictitious Past, 2024
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
The exhibition Coming From took place from 23 August to 14 September 2014, with an opening on 22 August. Auto Navigate My History, 2014
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
Several video works were part of the exhibition. Djurs Øhav, 2020
The title reflects several forms of diffusion: the algorithmic process of generating images; the grassroots spread of ideas and tools; and the physical scattering of devices across different environments. Diffused States (Lexington), 2025
A Subjective History of Gdańsk is a hallucinatory and subjective presentation of the city of Gdańsk in Poland, a place historically shaped by competing ideologies that have repeatedly renamed and reconstructed it. A Subjective History of Gdańsk, 2011
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010