Kristoffer Ørum
A record-keeper. The website is the work.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A teacher who keeps a studio in order to have something to teach from.
Most of it was built on other people's work.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Solitary. One person decides what is documented and what is forgotten.
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
The project used the signal crayfish as a figure for examining digital surveillance and mapping of human movement through wireless networks. Signal_Crayfish, 2020
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
The performance questions traditional notions of heroic bodies and monochrome histories, imagining instead non-heroic bodies in soft, feathered institutions that function as part of a collective ecosystem. Feathered Misconceptions, 2018
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
The exhibition continued this approach, combining speculation with a documentary style to produce objects that felt like remnants of possible futures. The End of the Universe as We Know It?, 2007
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
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
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 employs a computational process to dismantle and reassemble the daily flow of news images into a navigable world built from their fragments. Watershed, 2025
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
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
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
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 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
Signal_Crayfish was commissioned as a book work for "Interspecies Futures ," the first survey of bookworks by international practitioners from bio-art and speculative design fields. Signal_Crayfish, 2021
Transparent mobiles with polarisation filters cause the overlapping projections to shift constantly, creating a spatial interpretation of a hybrid and unstable identity. AutoBiography, 2011
However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022
The work involved creating AI-generated posters and videos that depicted an alternative Danish history where the labour movement and 1990s hip-hop culture merged. Frihed, Lighed Og Hip-Hop, 2023
The photographs were found in a cabin after the vessel had spent seven days on the seabed, having been exposed to three atmospheres of pressure and salt water. Depth Estimation, 2019
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
Each monument is situated in a specific district or moment in Kraków’s layered history, blending archival poetics with infrastructural speculation. Monuments of a Fictional Past (Kraków Edition), 2025
The familiar backdrop of urban life became part of the work, framing the reimagined objects and frozen scenes within the flow of daily routines. Mundane Heroics, 2019
A Subjective History of Gdańsk is a hallucinatory and subjective presentation of the city of Gdańsk in Poland, a place historically shaped by competing ideologies that have repeatedly renamed and reconstructed it. A Subjective History of Gdańsk, 2011
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then at Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
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
This breaks with the idea of a coherent and authentic artistic subject—an illusion that the art market is still deeply dependent on. None of These Images Are of Me, 2025
At the neighbouring Museum Østjylland, speculative objects were integrated into the historical displays, including a model of an "oyster home" and interventions within exhibits about Grenå's local oyster history. Djurs Øhav, 2020
The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
The project served as the conceptual foundation for later work on how artificial intelligence could be used to create alternative historical narratives about Danish society. Tank Hip-Hop, 2022
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014