Kristoffer Ørum
Collaborative. Most of it was made with other people.
The machines are collaborators and cannot be credited.
Mostly it is admin.
Made by hand, mostly. Cut, cast, sanded, painted.
The website keeps itself up to date. He does not.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Simultaneously with the physical performances, stories of The Ballehage Woman were disseminated across media including a website, YouTube video, Google ads, newspaper articles, and emails. The Ballehage Woman, 2009
The site opens on the series title and a single line — "Would you like to know more?" — set in pale green with a cartoon crayfish at the edge of the frame. Would You Like to Know More, 2017
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 piece was first aired on November 7, 2017, as part of a series on innovative expressions in public media. Data Kroppe, 2017
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
The Kolding Creature was a virtual three-dimensional creature created from 3D scans of local Kolding pets and conversations with their owners. The Kolding Creature, 2021
Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024
The Perfect Wave (2004) is a 3D animated video work by Anders Bojen & Kristoffer Ørum that takes as its subject the iconic and endlessly recurring image of a single wave. The Perfect Wave, 2004
The work examines the autobiography as a cultural phenomenon and the staging of artistic identity, setting up a tension between the impersonal logic of systems and the personal search for self. AutoBiography, 2011
Players are encouraged to question the presumed truth of gravity and their own assumptions, gradually adopting a new perspective through interactive challenges. Disbelieving Gravity, 2013
The role-players — dressed as green warriors and magicians — relied on grass as their main resource. Game Continent, 2010
Diffused States was presented as part of *Data Fluencies: Tributaries*, curated by Roopa Vasudevan, which brought together artists working on the ways data can be resisted, rerouted, or reimagined outside dominant narratives. Diffused States (Vancouver), 2025
The exhibition catalogue was designed in a sci-fi paperback style and published by backbonebooks. Signal_Crayfish, 2021
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
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
While you are reading this text, which has been designed to be unreadable by computers, everything that is said in this room is being recorded. Blind Listening, 2017
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010
Philosopher Donna Haraway has called this illusion a “god trick”: a view from nowhere that claims to see everything. None of These Images Are of Me, 2025
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
The 3D printed objects served as camouflaged recording devices, appearing as innocuous everyday items while performing the technical operation of speech-to-text conversion. Listening Without Ears, 2019
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
Instead of showing only what is lost when a human is translated into data, these moments offer a new perspective. Speaker 1, 2026
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
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
A collective of ten artists, led by Anders Bojen and Kristoffer Ørum, documented these spaces and transformed them into an interconnected web of associations, facts, myths and misunderstandings. Topographies of the Insignificant, 2010
When compositional and editorial hierarchies are systematically dismantled, how does the perceived importance of visual information change? Watershed, 2025
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
Each day, the system generated a new composite face from images found via Google’s lists of top search terms. Recognised Faces, 2014
The piece challenges conventional media formats by introducing poetic, disconcerting aesthetics into mainstream broadcast, encouraging reflection on surveillance, representation, and identity in the digital age. Data Kroppe, 2017
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
The performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019
The installation featured speculative scenarios about living arrangements including large oyster habitations. Ebeltoft After The Flood, 2021