Kristoffer Ørum
Works with animals that have not agreed to it.
Comedy.
The machines are collaborators and cannot be credited.
The website keeps itself up to date. He does not.
Collaborative. Most of it was made with other people.
An archive with gaps in it, kept by the person who made the gaps.
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
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
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
Spray was presented as both an exhibition and performance at Friisland's Center for Performance Art during Art Matter festival. Mr. Spray, 2024
The work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
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
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
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
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
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
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
"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
Coffee Lake continues Ørum's ongoing investigation of the analog and digital spaces we navigate daily, both physically and mentally. Coffee Lake, 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 features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
Algorithms originally trained for advertising are repurposed to remix the town’s architecture and stories into new visions of community and possibility. Hvidovre Makes Good Times Better, 2025
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
Call-outs have of course played an important role in making injustices visible, but when they are based on an idea of moral purity, they also create distance. None of These Images Are of Me, 2025
Project part of Oxer's programming on maritime exhibition platform Svartlöga. Ebeltoft After The Flood, 2021
Within the installation, a microclimate experiment is contained in a coffeemaker, adding subtle atmospheric variation to the space. In a Dark Room/a Storm in a Coffee Cup, 2004
The project emphasizes local DIY spirit, encouraging citizens to reimagine Hvidovre’s past and future. Hvidovre Makes Good Times Better, 2025
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
Ander Bojen & Kristoffer Ørum’s contribution combined personal narrative, historical research, and speculative urban theory to question how collective experience and perception shape the city. A Subjective History of Gdańsk, 2011
It operates in a zone where phenomena such as computer screens, lakes of coffee, simulated fire, and collective machines all influence our conceptions and expectations of the physical world. Coffee Lake, 2019
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