Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
A lot of it is waiting for a render to finish.
Science fiction, set last week.
The website keeps itself up to date. He does not.
Some of it only exists as a photograph now.
Works with machines that are confidently wrong.
These precedents inform an imagined shift towards AI systems that are modest in scope, but deeply embedded in the cultures that maintain them. Diffused States (Vancouver), 2025
I am also tired of a “call-out” culture that too easily becomes hostile and makes it difficult to build the broad alliances we need. None of These Images Are of Me, 2025
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
At Sophienholm it stands outdoors in the park, inside a stone grotto. Affluence without abundance, 2025
The project was presented as part of the group exhibition Coming From at Overgaden Institute of Contemporary Art in Copenhagen. Auto Navigate My History, 2014
Additional elements included a video installation where visitors had Putin's face projected over them, making them momentarily become Putin speaking about Russian male superiority and Western decadence. Putin's Nose, 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 work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
Spray was the third part of a multi-year project that began with "Tank Hip-Hop" at Retro Avantgarde in Kongegaarder and continued with "Freedom, Equality, and Hip-Hop" at Sydhavn Station in November 2023. Mr. Spray, 2024
Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025
As tension builds, the man gradually dissolves into the screen, becoming one with the flickering patterns. Once We All Walk through Solid Objects, 2007
The Pattern In Us All (2007) was a lecture performance created by Anders Bojen & Kristoffer Ørum at the University of Copenhagen. The Pattern In Us All, 2007
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025
The work departed from the exhibition space but moved as performative action into urban space, with an online component extending the offline event. According to the Nose, 2021
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
Rather than simply discussing these themes, the performance stages a series of unstable software experiments and semi-fictional narratives, creating a situation that is deliberately out of the performer's control. It Sings for Us of What We Might Become, 2019
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 project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
Like collage, the work is not about arriving at a definitive meaning but about generating provisional configurations that open new ways of seeing. Watershed, 2025
The piece challenges conventional media formats by introducing poetic, disconcerting aesthetics into mainstream broadcast, encouraging reflection on surveillance, representation, and identity in the digital age. Data Kroppe, 2017
The project draws on the history of low-resource and locally maintained computing, from community-run bulletin board systems to peer-to-peer networks sustained by recycled hardware. Diffused States (Vancouver), 2025
The installation included various nose-related works including "My Nose", "Nose detector", and "Nose Archive", alongside "Face of Russia". Putins Nose, 2018
Several video works were part of the exhibition. Djurs Øhav, 2020
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
Local rumours, past dreams, and forgotten figures merge with the town’s documented history across media: an interactive video installation, posters, sound works, and music. Hvidovre Makes Good Times Better, 2025
Leddyrsomsorg / Arthropod Care is a twenty-minute video, one of nine works Ørum showed in FORSTADIER / Precursors — a duo exhibition with Aske Thiberg, curated by Morten K Jacobsen and Heidi Hove. Leddyrsomsorg / Arthropod Care, 2026
Et Andet Rum 2 is a site-specific 3D animation by Anders Bojen and Kristoffer Ørum. Et Andet Rum 2, 2009
A face judged as both 'neutral' and 'fake' by two different systems at the same time is more than a technical glitch; it's a new kind of image that hints at a possible new understanding of identity. Speaker 1, 2026
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
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
In this counterfactual history, data is not extracted at scale but circulated within communities, adapting to local needs, languages, and cultural references. Diffused States (Lexington), 2025
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
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
Using AI, familiar sites are transformed into speculative visions, such as Karolinelunden as a DIY amusement park or Aalborg Shipyard taken over by its workers. Aalborg Is The Future, 2024
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
The work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014