Kristoffer Ørum
A record-keeper. The website is the work.
A documentary practice. Every work here has an address and a date.
The machines are collaborators and cannot be credited.
Made by hand, mostly. Cut, cast, sanded, painted.
A programmer who picks the wrong algorithm on purpose.
An archive with gaps in it, kept by the person who made the gaps.
By working with models that reflect the biases and gaps of their training data, DIFFUSED STATES treats these systems not as definitive or universal but as provisional, adaptable, and open to reinterpretation. Diffused States (Lexington), 2025
On the contrary, humour often arises in breaks with the expected, in encounters with the unknown, bringing fear and laughter close together. None of These Images Are of Me, 2025
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021
The postcards extend this blending of eras, presenting scenes where identity, memory, and cultural imagination converge and transform. The Good, the Lost, and the Beautiful, 2025
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
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
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
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
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
Despite this, they were largely abandoned in favour of commercially driven binary architectures. Diffused States (Boston), 2025
NLHspace was initiated in 2006 by artist Nanna Lysholt Hansen and operated as an "always open / always closed" space. Et Andet Rum 2, 2009
Visitors encountered these figures both inside the museum and in everyday spaces, such as the local supermarket, where baguettes from the freezer section served as swords. Game Continent, 2010
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
Lesson plans, assessment structures and financial data are translated into dynamic graphics, situating the institution in relation to broader societal forces and its individual members. A Body Has Many Members, 2012
This process dismantles the images into fragments by “flooding” a grayscale version of an image from its darkest points to its lightest, just as rainwater would fill a real-world mountainous landscape from its lowest valleys. Watershed, 2025
Spray was the third part of a multi-year project that began with "Tank Hip-Hop" at Retro Avantgarde in Kongegaarder and continued with "Freedom, Equality, and Hip-Hop" at Sydhavn Station in November 2023. Mr. Spray, 2024
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025
A ghostly city that is no less real than the cities summoned forth in digital renderings by architects and planners to convince us of the future they are proposing. Brownfield Wonderland, 2022
While not free from environmental impact, this approach reflects an effort to minimize resource use and ecological harm in the project’s production. Hvidovre Makes Good Times Better, 2025
It operates in a zone where phenomena such as computer screens, lakes of coffee, simulated fire, and collective machines all influence our conceptions and expectations of the physical world. Coffee Lake, 2019
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 opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
The screens displayed a new page every few minutes, allowing both visitors to the medieval church and local citizens passing through the square to encounter the rewritten history. Roskilde Parahistory, 2009
Using the fictional device Scope 3000, he ultimately merged with the patterns themselves. The Pattern In Us All, 2007
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
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
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
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
The Pattern In Us All (2007) was a lecture performance created by Anders Bojen & Kristoffer Ørum at the University of Copenhagen. The Pattern In Us All, 2007
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025