Kristoffer Ørum
An archive with gaps in it, kept by the person who made the gaps.
Research. Somebody is going to have to examine it.
A documentary practice. Every work here has an address and a date.
Works with machines that are confidently wrong.
Mostly it is admin.
Not research. The works were made first and explained afterwards.
The project consists of a book, a video, and a sculpture. Once We All Walk through Solid Objects, 2007
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
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
Soap Particles (2005) is a 3D animation work exhibited in two venues: as part of a solo show at Q, Copenhagen (20–29 May 2005) and in the group exhibition Critical Mass at Skulpturens Hus, Stockholm (3 May 2005). Soap Particles, 2005
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
The exhibition was curated by museum inspector Pernille Rom Bruun and featured partnerships between artists and associations including nature conservation, bird watching, boxing, gliding, gymnastics, and rabbit breeding groups. Everyday Heroes, 2019
The work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
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
This video asks a question that sits at the heart of our digital lives: how do we appear to a machine? Speaker 1, 2026
It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022
The role-players — dressed as green warriors and magicians — relied on grass as their main resource. Game Continent, 2010
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
Created in 2019, the work was exhibited by Radar Contemporary as an online piece. Vladimir's Tongue, 2020
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
They have been 3d scanned, using the kind of technology one might find in one's smartphone, and subsequently 3d printed in monochrome versions using a variety of materials ranging from terracotta to granite. Brownfield Wonderland, 2022
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
Retired factory workers repurpose their technical knowledge to build speakers and maintain audio infrastructure, passing skills across generations. Even the City Dreams of Being Another, 2025
We are shaped by the grammar of the frame, where composition and colour psychology direct our gaze and mood. Watershed, 2025
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
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
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
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 second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
The installation was produced specifically for Interdimensionale II at Gammelgaard (September 2020) using three 4K video players (Raspberry Pi 4), three IIYAMA B2888UHSU screens, and video rendering services from foxrenderfarm.com. Melting State, 2020
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 work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
The exhibition borrows its title from 1960, when the Social Democratic Party campaigned under the slogan “Make Good Times Better”. Hvidovre Makes Good Times Better, 2025
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
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
The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025
The exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011