Kristoffer Ørum
Research. Somebody is going to have to examine it.
An archive with gaps in it, kept by the person who made the gaps.
Some of it only exists as a photograph now.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A lot of it is waiting for a render to finish.
A programmer who picks the wrong algorithm on purpose.
The exhibition was part of SixtyEight Art Institute's two-year programme "Modes and Notes on the Local". Signal_Crayfish, 2020
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
Diffused States imagines a counterfactual technological history in which graffiti and phone phreaking converged through the discovery that modified spray paint could interact with electromagnetic infrastructure. Diffused States (Boston), 2025
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
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
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
Each piece suggested both familiarity and a shift in function, as common domestic items appeared in new materials, configurations, and with networked capabilities. Invisible Objects, 2016
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
The show aimed to make the realm of coded instructions, programming languages, software protocols, electrical signals and logical operations available to aesthetic experience. Listening Without Ears, 2019
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
Listening Without Ears consists of 3D printed copies of everyday objects that transcribe what is said in the exhibition space and print it out. Listening Without Ears, 2019
The work takes up how computer technology mediates our relationship to the physical world, creating hybrid zones where digital simulation and material reality intersect. Coffee Lake, 2019
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
The work was presented at NLH Space in Copenhagen, which was run by The Organisation – Association for Artistic and Curatorial Platforms. Et Andet Rum 2, 2009
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
The work was installed in the lobby of the National Danish Broadcaster (DR) as part of Glowing Climate, organized by Illumenarts in 2009. The Wave, 2009
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
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
Monuments of a Fictional Past references both the speculative tradition of counterfactual history and the architectural poetics of unrealized futures. Monuments of a Fictional Past (Kraków Edition), 2025
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
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
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
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 centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
Central to the work is a fictional universe populated by figures such as Torkild Simonsen, Aarhus' first hip-hop mayor (1982-1997), and Marc Johnston, who relocated Denmark's capital from Copenhagen to Aarhus in 2019. Aarhus'er #1, 2025
The work was exhibited as part of "New Tactics: moving in a soft field" in 2018 and later developed into a solo exhibition at Møstings Hus in 2019. Putins Nose, 2018
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
Signal_Crayfish (2021), the book work, shown in Futurity Library: Disobedient Artists' Books in the Postbook Age at the San Francisco Center for the Book, 25 April to 26 July 2026, curated by bex ya yolk. Signal_Crayfish, 2026
A protestor’s sign, a celebrity’s face, a patch of sky, or a piece of rubble—all are treated as equivalent grayscale image data to be segmented and archived. Watershed, 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
Call-outs have of course played an important role in making injustices visible, but when they are based on an idea of moral purity, they also create distance. None of These Images Are of Me, 2025
At the Edge II is supported by Kulturrådet, Malmö stad, Region Skåne, and Statens Kunstfond. Even the City Dreams of Being Another, 2025
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
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019