Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
An artist who makes things up about real places.
A programmer who picks the wrong algorithm on purpose.
A record-keeper. The website is the work.
Made by hand, mostly. Cut, cast, sanded, painted.
Collaborative. Most of it was made with other people.
Coffee Lake continues Ørum's ongoing investigation of the analog and digital spaces we navigate daily, both physically and mentally. Coffee Lake, 2019
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
I am also tired of so-called critical art being presented through the same visual culture as fashion: the artist in their beautiful home, in front of their impressive bookshelf, or in their picturesque studio. None of These Images Are of Me, 2025
We are steered by algorithms that curate which images reach us. Watershed, 2025
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
The project was based on historical facts and scientific data. Djurs Øhav, 2020
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
The project contributed to the establishment of the Interspecies Library, the first archive dedicated to artists' books focused on more-than-human worlds. Signal_Crayfish, 2021
Through these monstrous and bizarre creatures, the work addressed our relationship to more familiar creatures and digital systems that we share the modern technological world with. Mundane Monsters, 2023
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 animation recreates the street outside the former artist-run space, projecting a computer-generated scene onto a screen covering the window. Et Andet Rum 2, 2009
Leaving the site once again ready to become yet another kind of Brownfield Wonderland, where one might just be able to dream of something new, instead of more of the same. Brownfield Wonderland, 2022
The exhibition blurs the line between documentary and fiction, making room for the unrealised potential of the past to resurface not as nostalgia, but as unfinished possibility. Aarhus'er #1, 2025
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
The work documents their attempts to deconstruct a person into data: to apply a label, assign a tracking ID, map the body's motion onto a skeletal grid, and strip a voice down to plain text. Speaker 1, 2026
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
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
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
The project treats everyday objects and routines as sites of discovery and narrative potential, turning personal and mundane experience into shared, speculative material. Day to Day Data, 2008
An actor dressed as The Ballehage Woman roamed the underbush of Marselisborg Forest near the Ballehage neighbourhood every night at dusk for a month. The Ballehage Woman, 2009
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
Maps are freely available across Aalborg, and the project’s website continues to expand its speculative histories. Aalborg Is The Future, 2024
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. Depth Estimation, 2019
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Fed back into the internet, these phantom portraits acted as a small disturbance within systems of profiling maintained by intelligence agencies, corporations and other data collectors. Recognised Faces, 2014
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
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
From advertising screens on buses to personal mobile phones, we are daily surrounded by lifelike computer-generated representations of physical phenomena. Melting State, 2020
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
That is part of the work rather than a fault in it. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
In this way, Ørum reconsidered the relationship between national identity, food, body and surveillance, hoping to open up an identity model where it is possible to be foreign, Danish, body and digital representation at the same time. Putin's Nose, 2019