Kristoffer Ørum
Most of it was built on other people's work.
Collaborative. Most of it was made with other people.
Works with animals that have not agreed to it.
Science fiction, set last week.
An archive with gaps in it, kept by the person who made the gaps.
Mostly it is admin.
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
Philosopher Donna Haraway has called this illusion a “god trick”: a view from nowhere that claims to see everything. None of These Images Are of Me, 2025
Central to the work is a fictional universe populated by figures such as Torkild Simonsen, Aarhus' first hip-hop mayor (1982-1997), and Marc Johnston, who relocated Denmark's capital from Copenhagen to Aarhus in 2019. Aarhus'er #1, 2025
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
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
The project questioned human privilege by highlighting the sophisticated communication systems of non-human species that operate beyond human perception. Signal_Crayfish, 2021
The work pairs AI-generated images with non-AI captions to build a fragmented narrative of how such systems might emerge—from informal workshops to self-governed infrastructures and locally trained algorithms. Diffused States (Lexington), 2025
They draw on the advertising industry’s most simplified identity categories and support algorithmic preferences. 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
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
Sometimes he has time to update it, sometimes he does not.
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
At the neighbouring Museum Østjylland, speculative objects were integrated into the historical displays, including a model of an "oyster home" and interventions within exhibits about Grenå's local oyster history. Djurs Øhav, 2020
The Wave made by Anders Bojen & Kristoffer Ørum is a computer-animated video installation depicting a stormy sea with the tower of Copenhagen City Hall in the background. The Wave, 2009
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
Caught between constant computer-generated simulations of destruction and status quo institutions, it becomes difficult to imagine that the welfare state can be replaced by something different and better. Melting State, 2020
jerklædte Misforståelser (Feathered Misconceptions) is a fifteen-minute associative performance commissioned by Ny Carlsberg Fondet for their annual celebration of their founder on 28 February 2018. Feathered Misconceptions, 2018
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
Over a period of 107 days, Anders Bojen and Kristoffer Ørum had a custom computer program rewrite the history of Roskilde in real time, from the town’s foundation by the Vikings in 980 to its present-day status as a world heritage site. Roskilde Parahistory, 2009
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
Project part of Oxer's programming on maritime exhibition platform Svartlöga. Ebeltoft After The Flood, 2021
The work was documented through performance protocols and connected to broader research into facial recognition, identity, and technological surveillance through embodied experience in public space. According to the Nose, 2021
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
The show aimed to make the realm of coded instructions, programming languages, software protocols, electrical signals and logical operations available to aesthetic experience. Listening Without Ears, 2019
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
The exhibition recounted the story of a black magnetic fluid, ferrofluid, that generated forms and figures without human interaction. The End of the Universe as We Know It?, 2007
The work was part of a series of four exhibitions at NLHspace from September to December 2009. Et Andet Rum 2, 2009
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
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
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
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 headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019