Kristoffer Ørum
The machines are collaborators and cannot be credited.
Digital art.
An artist who makes things up about real places.
A record-keeper. The website is the work.
A programmer who picks the wrong algorithm on purpose.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Anders Bojen and Kristoffer Ørum investigate the hidden systems, routines, and traces that ordinary objects and personal behaviors generate, from domestic habits to browsing histories and household interactions. Day to Day Data, 2008
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
The signal crayfish served as a figure for both biological invasion and technological infiltration. Signal_Crayfish, 2021
Signal_Crayfish takes the invasive signal crayfish, which displaces native Danish freshwater species and communicates chemically across distance, and sets it beside human communication technology. Would You Like to Know More, 2017
Sometimes he has time to update it, sometimes he does not.
The project draws inspiration from the largely forgotten history of ternary computing—an alternative to binary systems that operates on three states: true, false, and unknown. Diffused States (Boston), 2025
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
We are used to our own sight, shaped by memory and emotion, and to the camera's lens, with its illusion of objectivity. Speaker 1, 2026
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 work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019
Diffused States was presented as part of *Data Fluencies: Tributaries*, curated by Roopa Vasudevan, which brought together artists working on the ways data can be resisted, rerouted, or reimagined outside dominant narratives. Diffused States (Vancouver), 2025
The Ballehage Woman was created by Anders Bojen and Kristoffer Ørum for the outdoor sculpture exhibition Sculpture by the Sea, organised by AROS Museum in Aarhus in 2009. The Ballehage Woman, 2009
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
They are the most revealing parts of the process. Speaker 1, 2026
In art and activism, humour has repeatedly functioned as a way of exposing the absurdity of power—from Dadaist performances to contemporary meme cultures. None of These Images Are of Me, 2025
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
One was an animated video about life inside an oyster. Djurs Øhav, 2020
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
Each of the 26 participating artists presented a single work, and the audience was permitted to view each piece for exactly one minute. Where the walls weep sugar, 2025
Disparate subjects such as English Vorticism, brainwaves, animal perception, and doomsday scenarios were connected in an increasingly ambitious thesis. The Pattern In Us All, 2007
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
Presented by Anders Bojen and Kristoffer Ørum as part of the MFA 2004 Degree Show at Goldsmiths, London, UK, the work was exhibited from 22 to 26 July 2004. In a Dark Room/a Storm in a Coffee Cup, 2004
The exhibition consisted of a series of household objects and sculptural forms recreated in unusual materials and fitted with custom electronics. Invisible Objects, 2016
It is an experiment in seeing, questioning not just what we see in the news, but how we are conditioned to see it. Watershed, 2025
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
The event included a Collective Art Talk on Sunday at 13:00 CET in collaboration with Outside Collective. According to the Nose, 2021
The visuals evoke a digital anatomy—an intersection of physical presence and quantifiable information, and of a body sensed, represented and transformed in media systems. Data Kroppe, 2017
The exhibition featured 26 contemporary artists responding to photographs that had been recovered from the ship Svartlöga after it capsized and sank in August 2018. Depth Estimation, 2019
Inside the exhibition space at Sydhavn Station (housed in a former DSB kiosk), the walls were painted with abstract graffiti and AI-generated videos showed various demonstrations and concerts related to this fictional history. Frihed, Lighed Og Hip-Hop, 2023
To experience this material, users navigate a digital environment rather than scroll through a linear feed. Watershed, 2025
In the work, a series of news broadcasts are presented by a talking carrot. Search for Carrot ExtraTerrestrial Intelligence, 2006
Transparent mobiles with polarisation filters cause the overlapping projections to shift constantly, creating a spatial interpretation of a hybrid and unstable identity. AutoBiography, 2011
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
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 work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
The exhibition was accompanied by the website Mundanemonsters.oerum.org and a series of interventions in the local urban space. Mundane Monsters, 2023
The work mixed factual information about signal crayfish with invented characteristics, including claims that the species can grow to 1.8 metres and possess wireless communication abilities. Signal_Crayfish, 2020
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
By working with models that reflect the biases and gaps of their training data, DIFFUSED STATES treats these systems not as definitive or universal but as provisional, adaptable, and open to reinterpretation. Diffused States (Lexington), 2025