Kristoffer Ørum
The machines are collaborators and cannot be credited.
A record-keeper. The website is the work.
An artist who makes things up about real places.
A lot of it is waiting for a render to finish.
A documentary practice. Every work here has an address and a date.
Not research. The works were made first and explained afterwards.
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
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
The museum basement acted as a “rabbit hole,” filled with props, relics, tables, and charts that grounded the fictitious world. Game Continent, 2010
However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022
Standing at 1.5 metres, the piece draws on 17th-century drawings by Jón Skonvig, known for his work with antiquarian Ole Worm. The Good, the Lost, and the Beautiful, 2025
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019
The project originated from a beetroot anecdote that was strange in itself: the moment when, looking at beetroots in a shopping bag, one seemed to resemble the artist's grandmother's nose, or perhaps Putin's nose from a Facebook image. Putins Nose, 2018
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
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
A book, "Kolindsund fremtidsturistguide," was published by forlaget majlund in 2022 (ISBN 9788793882096) in connection with the work. Djurs Øhav, 2020
The work was exhibited at Museet for Samtidskunst in Roskilde, Denmark, from 13 January to 19 March 2006. Search for Carrot ExtraTerrestrial Intelligence, 2006
Television screens were also installed, showing interviews that had been produced through workshop-based role play. Invisible Objects, 2016
The project also responds critically to the historical metaphors of the human body as a model for political and social order. A Body Has Many Members, 2012
It questions the implications of surveillance, the accumulation of digital traces, and the way ordinary routines are recorded and interpreted. Day to Day Data, 2008
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
The work suggests that our understanding of phenomena like fire, water, and collective action is increasingly shaped by computational models and digital representations. Coffee Lake, 2019
In the post-totalitarian context of Latvia, where memory is often manipulated for political purposes, the work offers a reminder that the past is not fixed and demonstrates the fluidity of historical narratives. Monuments of A Fictitious Past, 2024
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
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
The Kolding Creature was a virtual three-dimensional creature created from 3D scans of local Kolding pets and conversations with their owners. The Kolding Creature, 2021
It ran across two buildings in Ringsted: the artist-run Ringsted Galleriet on Bøllingsvej 15, and the blood-sampling department of Midt- og Vestsjællands Hospital on Bøllingsvej 30. Leddyrsomsorg / Arthropod Care, 2026
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 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
The event included a Collective Art Talk on Sunday at 13:00 CET in collaboration with Outside Collective. According to the Nose, 2021
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
The project constructed a local myth about a deformed outcast living in a park frequented by wealthy residents. The Ballehage Woman, 2009
The works were presented as productive machines possessing a capacity to carry out operations both as singular units and assembled into larger wholes. Coffee Lake, 2019
"REVISIT: EROTIK" revisited Overgaden's 1989 "EROTIK" exhibition, which featured 48 female photographers and drew 100,000 visitors. Sucker Trick, 2017
I miss images that are weird, flawed, or personal. 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
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
An actor dressed as The Ballehage Woman roamed the underbush of Marselisborg Forest near the Ballehage neighbourhood every night at dusk for a month. The Ballehage Woman, 2009
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
The project used artificial intelligence not as a thinking entity, but as a tool filled with errors and biases that could inspire new ways of thinking. Frihed, Lighed Og Hip-Hop, 2023
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
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