Kristoffer Ørum
This text is generated. He decided what it generates from.
The website keeps itself up to date. He does not.
Digital art.
A programmer who picks the wrong algorithm on purpose.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
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 fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
The work was documented in a video presentation and included in the festival’s program alongside other international and local artists working in experimental modes of storytelling and urban critique. A Subjective History of Gdańsk, 2011
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
It takes the current development of the site of the art space as its point of departure, arguing for the often-overlooked qualities and potential of brownfield sites like it. Brownfield Wonderland, 2022
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
I had been working with it for some years in sculpture and online. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025
Custom software automated the browsing process by reading from the recorded history file and simulating user clicks. Auto Navigate My History, 2014
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
The hardware is produced through resource-intensive processes, and even the “local” is entangled in a global infrastructure. None of These Images Are of Me, 2025
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
With modified lawnmowers, they cut public lawns and compressed the grass to extract chlorophyll, the “magic potion” that enabled them to carry out new missions. Game Continent, 2010
The animated scene acts as a virtual doubling of both the street in front and the interior space behind the window. Et Andet Rum 2, 2009
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
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
Children and young people modified everyday objects such as chairs, umbrellas, tools, or clothing into hybrid sculptural forms. Mundane Heroics, 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
The virtual creature could be experienced through mobile phones and tablets using augmented reality technology. The Kolding Creature, 2021
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
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
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
In collaboration with local live role-players, Anders Bojen and Kristoffer Ørum created a fictitious universe whose rules and borders were only fully known to its participants. Game Continent, 2010
Rather than scaling towards planetary computation, this speculative trajectory follows a slower, more situated evolution—one in which algorithms adapt to the languages, histories, and needs of their immediate context. Diffused States (Vancouver), 2025
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025
The project encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025
The piece was first aired on November 7, 2017, as part of a series on innovative expressions in public media. Data Kroppe, 2017
It aligns with the idea that technology, even when shaped by exclusionary structures, can be repurposed towards shared imagination, local autonomy, and slower forms of innovation. Diffused States (Vancouver), 2025
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
Through a visual language that draws on both scientific simulations and computer games, the flows of economy, knowledge and power are animated as dynamic systems. A Body Has Many Members, 2012
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
The show took place from 2017-08-18 to 2017-12-09, inspired by Herman Melville’s *Bartleby, the Scrivener* and its quiet refusal: “I would prefer not to.” Blind Listening, 2017
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
An urban planning term for any previously developed land that is not currently in use. Brownfield Wonderland, 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
Frihed, Lighed og Hip-Hop used advanced imaging technology (artificial intelligence) to tell the story of a fictional relationship between the labour movement and hip-hop culture. Frihed, Lighed Og Hip-Hop, 2023