Kristoffer Ørum
A lot of it is waiting for a render to finish.
An artist who makes things up about real places.
Works with machines that are confidently wrong.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Not research. The works were made first and explained afterwards.
A documentary practice. Every work here has an address and a date.
It continues a line of work on identity, architecture and urban development begun in At the Edge I (Copenhagen, 2024), now more firmly rooted in Malmö’s local context. Even the City Dreams of Being Another, 2025
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
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
They are the most revealing parts of the process. Speaker 1, 2026
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
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
The exhibition was part of a series of events organised by Kunsthal for Maritim Æstetik, which also included publications, debates, food events, and bus tours. Djurs Øhav, 2020
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 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
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
The exhibition dealt with invisible communication systems including Wi-Fi networks, radio communications, and chemical signals that operate undetected around us. Signal_Crayfish, 2020
The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
In 2025, the project will travel to Krakow, Malmö, Boston, Vancouver, Lexington, and Aarhus. Hvidovre Makes Good Times Better, 2025
Just as hip-hop DJs once transformed the turntable from a playback device into a creative instrument, this project reimagines Hvidovre’s history as speculative fiction. Hvidovre Makes Good Times Better, 2025
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
Every Part a Body is a sixty-second digital video, shown in the 60Seconds programme of The Wrong Biennale at CBS Digital Space in March 2026. Every Part a Body, 2026
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
The book was commissioned during the early days of the COVID-19 pandemic as part of a group of works that examined interspecies entanglement and human vulnerability. Signal_Crayfish, 2021
The exhibition was curated by Ida Schyum as the third presentation in Radar Contemporary's Extensions series. Signal_Crayfish, 2021
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Day to Day Data highlights the poetic, speculative, and sometimes humorous dimensions of personal and domestic data. Day to Day Data, 2008
The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019
At the moment the building site is a site of overlapping and contested imaginaries and Brownfield Wonderland is a celebration of this brief moment where two ideas of what a city is coexist. Brownfield Wonderland, 2022
The exhibition contributed to ongoing discussions about AI, storytelling, and alternative histories. Mr. Spray, 2024
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
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
The work pairs AI-generated images with non-AI captions to build a fragmented narrative of how such systems might emerge—from informal workshops to self-governed infrastructures and locally trained algorithms. Diffused States (Lexington), 2025