Kristoffer Ørum
Science fiction, set last week.
A documentary practice. Every work here has an address and a date.
Works with machines that are confidently wrong.
Research. Somebody is going to have to examine it.
An archive with gaps in it, kept by the person who made the gaps.
Not research. The works were made first and explained afterwards.
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010
The exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
We are collectively searching for new grammars of public discourse. Watershed, 2025
Instead of treating these models as definitive or universal, the project approaches them as partial and provisional—open to reinterpretation, modification, and play. Diffused States (Vancouver), 2025
The exhibition was noted for providing a rare opportunity to interact with cutting-edge technology in a gallery setting. Mundane Monsters, 2022
Tank Hip-Hop was the inaugural project that launched the multi-year "Freedom, Equality and Hip-Hop" series, built on the fictional relationship between the labour movement and hip-hop culture. Tank Hip-Hop, 2022
They draw on the advertising industry’s most simplified identity categories and support algorithmic preferences. None of These Images Are of Me, 2025
The work mixed factual information about signal crayfish with invented characteristics, including claims that the species can grow to 1.8 metres and possess wireless communication abilities. Signal_Crayfish, 2020
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
At the hospital: Gør din pligt og kræv din udredning (Do Your Duty and Demand Your Assessment) and Diagnose gør stærk (Diagnosis Makes You Strong) in the corridor, Frihed, lighed & symptom (Liberty, Equality & Symptom) in the waiting room. Leddyrsomsorg / Arthropod Care, 2026
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
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
I do it because I see a critique of the world that too often points outward, as if one could speak from a neutral and elevated place. None of These Images Are of Me, 2025
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
The installation included a manipulated deep fake video featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Affluence without abundance was a video installation featuring a giant 3D-printed oyster that presented a speculative future scenario where the earth is covered by an endless ocean and people live in giant oysters. Affluence without abundance, 2021
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
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
The work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 2021
The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 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
Signal Crayfish was presented as part of "Monstrous Machines," an exhibition on why new technologies provoke fear and how this impacts our perception of technology. Signal_Crayfish, 2021
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
The artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
Hollow but convincing memories of the potential of what was before, not unlike 3d architectural renderings whose apparent realism hides the hollow and malleable nature of 3d graphics. Brownfield Wonderland, 2022
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
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 Danish Arts Foundation's support enabled the presentation of the work in Vermont, introducing international digital art practices to the local community. Mundane Monsters, 2022
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
The work takes up how repeated exposure to images of buildings sinking into rubble with glass shards and dust spreading symmetrically creates expectations that the physical world behaves the same way. Melting State, 2020