Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
Works with animals that have not agreed to it.
Digital art.
Science fiction, set last week.
A documentary practice. Every work here has an address and a date.
A teacher who keeps a studio in order to have something to teach from.
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 2025
To understand it, I placed a digital version of myself—a puppet with my face and a clone of my voice—in front of various AIs. Speaker 1, 2026
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
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
While not free from environmental impact, this approach reflects an effort to minimize resource use and ecological harm in the project’s production. Hvidovre Makes Good Times Better, 2025
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
At the Edge II is supported by Kulturrådet, Malmö stad, Region Skåne, and Statens Kunstfond. Even the City Dreams of Being Another, 2025
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
The oysters provide shelter, regulate air quality, supply electricity and heating, and monitor their human inhabitants' health and behaviour. Affluence without abundance, 2021
The exhibition was noted for providing a rare opportunity to interact with cutting-edge technology in a gallery setting. Mundane Monsters, 2022
The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025
The contrast is not presented as a solution but as a tool of critique—making the invisible conventions of ordinary web interfaces visible by inverting them. Watershed, 2025
The video can be described as a combination of Half-Life 2, Hitchcock's *Vertigo*, and Bridget Riley, rendered in a computer-game-like animation of a man watching a screen. Once We All Walk through Solid Objects, 2007
By working with AI models trained on biased and incomplete datasets, DIFFUSED STATES engages with both their limitations and their possibilities. Diffused States (Vancouver), 2025
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
Coffee Lake is a video installation combining computer-generated video with animated text, created for the group exhibition "Machine sans nom" at Bonamatic. Coffee Lake, 2019
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
While you are reading this text, which has been designed to be unreadable by computers, everything that is said in this room is being recorded. Blind Listening, 2017
The work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
Melting State is a video installation on three screens where the buildings of Statens Kunstfond, Det Kongelige Kunstakademi, and Kulturministeriet are subjected to computer-generated physics simulations. Melting State, 2020
Some elements are only revealed through exploration, others remain invisible, and a hidden part of the project can be discovered by persistent visitors. Topographies of the Insignificant, 2010
Jensen; Ida Marie Hede Bertelsen; Peter Rasmussen; Kasper Hesselbjerg; David Rex; Ulrik Nørgaard; Daphne Bidstrup; Andreas Pallisgaard; and Kristin Haarløv. Radiant Copenhagen, 2009
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
The work featured electromagnetic pick-ups installed within body parts of a 3D-printed signal crayfish, comparing fears of digital transformation with concerns about invasive species. Signal_Crayfish, 2021
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
Running small, open systems on one’s own hardware provides a degree of autonomy and technological self-determination. None of These Images Are of Me, 2025
None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 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
According to the Nose was a walking protocol that provided opportunities to consider what life would look like if you were a nose. According to the Nose, 2021
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
The work was exhibited at Museet for Samtidskunst in Roskilde, Denmark, from 13 January to 19 March 2006. Search for Carrot ExtraTerrestrial Intelligence, 2006
Depth Estimation is a 3D printed sculpture made from corn starch with inkjet transfer, based on algorithmic depth estimation of a photograph. Depth Estimation, 2019