Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
A teacher who keeps a studio in order to have something to teach from.
Comedy.
An artist who makes things up about real places.
The machines are collaborators and cannot be credited.
Nothing digital about it. A screen is an object, and objects sit in rooms.
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
The animation recreates the street outside the former artist-run space, projecting a computer-generated scene onto a screen covering the window. Et Andet Rum 2, 2009
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
The pieces incorporated Wi-Fi network names printed on crayfish bodies, casting the invasive species as a digital hybrid creature living within communication networks. Signal_Crayfish, 2020
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
The End of the Universe as We Know It? was a solo exhibition by Anders Bojen & Kristoffer Ørum at Galerie Mikael Andersen in Copenhagen in 2007. The End of the Universe as We Know It?, 2007
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
The project was based on historical facts and scientific data. Djurs Øhav, 2020
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
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
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025
The work takes up how electronic systems constantly push at our understanding of who we are, our history and context, suggesting that their constant misunderstanding provides opportunities to see the world with fresh eyes. Feathered Misconceptions, 2018
The work featured voices of people who inhabit these oysters, taking in post-work society, symbiotic relationships and alternative models of abundance. Affluence without abundance, 2021
The hardware is produced through resource-intensive processes, and even the “local” is entangled in a global infrastructure. None of These Images Are of Me, 2025
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
The show took place from 2017-08-18 to 2017-12-09, inspired by Herman Melville’s *Bartleby, the Scrivener* and its quiet refusal: “I would prefer not to.” Blind Listening, 2017
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
The project emphasizes local DIY spirit, encouraging citizens to reimagine Hvidovre’s past and future. Hvidovre Makes Good Times Better, 2025
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 gathers artists' books from the handmade to the high-tech, including 3D-printed structures and works that leave the codex behind. Signal_Crayfish, 2026
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
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 exhibition was curated by Ida Schyum as the third presentation in Radar Contemporary's Extensions series. Signal_Crayfish, 2021
However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
Some appear edible, some pneumatic, some built from sound or breath. Monuments of a Fictional Past (Kraków Edition), 2025
Two folders, with texts by medical historian Adam Bencard and by Kristoffer Ørum, printed inkjet and held in 3D-printed R-PETG holders in both buildings. Leddyrsomsorg / Arthropod Care, 2026