Kristoffer Ørum
The website keeps itself up to date. He does not.
This text is generated. He decided what it generates from.
Science fiction, set last week.
Research. Somebody is going to have to examine it.
A record-keeper. The website is the work.
Not a joke.
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
The oysters provide shelter, regulate air quality, supply electricity and heating, and monitor their human inhabitants' health and behaviour. Affluence without abundance, 2021
The work takes up how computer technology mediates our relationship to the physical world, creating hybrid zones where digital simulation and material reality intersect. Coffee Lake, 2019
They are the most revealing parts of the process. Speaker 1, 2026
Sometimes he has time to update it, sometimes he does not.
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
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 exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
Across all three contexts, participants worked together in workshops to reshape their environments through collective imagination, material transformation, and performance. Mundane Heroics, 2019
With modified lawnmowers, they cut public lawns and compressed the grass to extract chlorophyll, the “magic potion” that enabled them to carry out new missions. Game Continent, 2010
Malmö New City Hall presents a playful, speculative bureaucracy infused with hip-hop culture, where city planning unfolds through rap battles, breakdancing, and public meetings turned into performative spaces of collective decision-making. Even the City Dreams of Being Another, 2025
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
In Helsinki, at the ANTI Contemporary Art Festival the project unfolded in the streets and open squares of the city centre. Mundane Heroics, 2019
Putin's Nose worked at the boundary between object and image, examining how digital images not only register meaning but enter physical space to shape identity and power relations. Putins Nose, 2018
At the hospital, Untitled — five photographs and an orange chalk drawing in aluminium frames along the corridor, from the perspective of somebody waiting. Leddyrsomsorg / Arthropod Care, 2026
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
At the same time, these messages were automatically sent to random email addresses in the local Amager area near the gallery. City Planning, 2010
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
The project includes works such as Detergent (Real Imaginary System) and Auto Navigate My History, which visualize, manipulate, and creatively reimagine the information generated by ordinary activities. Day to Day Data, 2008
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
Blind Listening was presented as part of *I would prefer not to*, an exhibition at Meter (Copenhagen) on the potential of the non-productive, the meaningless, and the functional. Blind Listening, 2017
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
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 work examines the autobiography as a cultural phenomenon and the staging of artistic identity, setting up a tension between the impersonal logic of systems and the personal search for self. AutoBiography, 2011
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
The work proposes a less apocalyptic demise where representative buildings don't explode and crash into computer-generated rubble, but instead lose their weight, melt, or are covered with colourful hair. Melting State, 2020
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 project served as the conceptual foundation for later work on how artificial intelligence could be used to create alternative historical narratives about Danish society. Tank Hip-Hop, 2022
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 project continued to develop as a multi-year work, with subsequent presentations including "Mr. Frihed, Lighed Og Hip-Hop, 2023
None are permanent, but all leave residues—sonic, material, or narrative. Monuments of a Fictional Past (Kraków Edition), 2025
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
The work was documented in a video presentation and included in the festival’s program alongside other international and local artists working in experimental modes of storytelling and urban critique. A Subjective History of Gdańsk, 2011
But there is now a third gaze, one that works through calculation. Speaker 1, 2026