Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
Science fiction, set last week.
The website keeps itself up to date. He does not.
Works with animals that have not agreed to it.
Collaborative. Most of it was made with other people.
A record-keeper. The website is the work.
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
Or the years when rap lyrics were about helping at home and taking good care of elderly citizens? Frihed, Lighed Og Hip-Hop, 2023
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
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
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
This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014
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
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
As a result, it is now defunct and can no longer be accessed in its original form. Topographies of the Insignificant, 2010
By establishing rules and constraints—writing without interruption, juxtaposing unrelated images—the Surrealists sought to bypass rational control and provoke unexpected associations. Watershed, 2025
They contribute to a narrowing of bodily representations that is far more damaging in the long run than strange AI slippage. None of These Images Are of Me, 2025
The work asks how we can imagine a future after the welfare state, now that it seems to be definitively being dismantled. Melting State, 2020
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
The project’s online component was crafted with HTML, CSS, and Flash as a web-based work. contributors included Maja Zander; Kaspar Bonnén; Stig W Jørgensen; Palle R. Radiant Copenhagen, 2009
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
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
Hydrographic prints on cornstarch included text "NO pearls or seaweed in the toilets!!! they are getting clogged" (2021). Ebeltoft After The Flood, 2021
The exhibition consisted of stencils painted with beetroot juice, 3D-printed noses and beetroots, inkjet prints, a webcam and screens of various sizes with nose recognition, texts and animation. Putin's Nose, 2019
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
The work proposes a less apocalyptic demise where representative buildings don't explode and crash into computer-generated rubble, but instead lose their weight, melt, or are covered with colourful hair. Melting State, 2020
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
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
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
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
The piece ends by saying that the conclusion was supposed to go here. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
As Judith Butler has pointed out, an acknowledgement of our interdependence can be a basis for political communities, while Sara Ahmed highlights the possibility of an “affective solidarity” built on honesty rather than claims of innocence. None of These Images Are of Me, 2025
The exhibition featured video projections, 3D-printed sculptures, wireless transmissions, two-dimensional works, and an augmented reality component that allowed visitors to view "monsters" inhabiting the gallery through their phone cameras. Mundane Monsters, 2022
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
Through a visual language that draws on both scientific simulations and computer games, the flows of economy, knowledge and power are animated as dynamic systems. A Body Has Many Members, 2012
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
The plate facing it is green and reads "I cheer as the pink-green crayfish team score a goal", over a passage about crayfish sending messages to each other across the same wireless networks that carry a live football game. Signal_Crayfish, 2026
"Where the wall weep sugar" was presented as part of the group exhibition "TID," organized by Kunstnersammenslutningen Jylland at KH7artspace in Aarhus. Where the walls weep sugar, 2025
The opening performance on 30 May 2024 was paired with Linnea Langfjord's work on alternative presents focused on care and slowness in the art world. Mr. Spray, 2024
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
Algorithms originally trained for advertising are repurposed to remix the town’s architecture and stories into new visions of community and possibility. Hvidovre Makes Good Times Better, 2025