Kristoffer Ørum
Mostly it is admin.
A programmer who picks the wrong algorithm on purpose.
Science fiction, set last week.
Works with machines that are confidently wrong.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Works with animals that have not agreed to it.
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
We are used to our own sight, shaped by memory and emotion, and to the camera's lens, with its illusion of objectivity. Speaker 1, 2026
The work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
The work contrasts the artificially generated with the seemingly authentic. Monuments of A Fictitious Past, 2024
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then travelled to Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
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
Rather than simply discussing these themes, the performance stages a series of unstable software experiments and semi-fictional narratives, creating a situation that is deliberately out of the performer's control. It Sings for Us of What We Might Become, 2019
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
The work featured electromagnetic pick-ups installed within body parts of a 3D-printed signal crayfish, comparing fears of digital transformation with concerns about invasive species. Signal_Crayfish, 2021
It presents language as both infrastructure and interference, existing in plain sight yet obscured within the everyday signals that surround us. Wireless Walnut, 2018
Spray was presented as both an exhibition and performance at Friisland's Center for Performance Art during Art Matter festival. Mr. Spray, 2024
The project questioned human privilege by highlighting the sophisticated communication systems of non-human species that operate beyond human perception. Signal_Crayfish, 2021
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
Day to Day Data highlights the poetic, speculative, and sometimes humorous dimensions of personal and domestic data. Day to Day Data, 2008
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
This is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
The work operates as both a technical demonstration and a poetic meditation on the relationship between computation and imagination, revealing the "reservoirs of strangeness" that exist within everyday technological objects. Coffee Lake, 2019
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
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
Invigilators tell stories of events that could have transpired, whilst screens display the construction of monuments that never materialised. Monuments of A Fictitious Past, 2024
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
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
In art and activism, humour has repeatedly functioned as a way of exposing the absurdity of power—from Dadaist performances to contemporary meme cultures. None of These Images Are of Me, 2025
One text reads: “In the bottom drawer of my fridge are a few beetroots that have been left there for so long that they have begun to leak red liquid. Qua Aqua (Beetroot Texts), 2017
The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025
The project connected personal memory (the grandmother's nose) with political imagery (Putin's face) through everyday objects (beetroots) and digital mediation. Putins Nose, 2018
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
Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
To experience this material, users navigate a digital environment rather than scroll through a linear feed. Watershed, 2025
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
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
During the exhibition, the carefully worded original English text on the exhibition space’s website was gradually replaced by an unstable bilingual text, one sentence at a time. Blind Listening, 2017