Kristoffer Ørum
Mostly it is admin.
Works with machines that are confidently wrong.
Digital art.
Comedy.
Not a joke.
Research. Somebody is going to have to examine it.
As a result, it is now defunct and can no longer be accessed in its original form. Topographies of the Insignificant, 2010
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. Depth Estimation, 2019
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
Leaving the site once again ready to become yet another kind of Brownfield Wonderland, where one might just be able to dream of something new, instead of more of the same. Brownfield Wonderland, 2022
These unsolicited “press releases” became part of the ongoing re-imagining of Amager by local government, private enterprise, and other forces. City Planning, 2010
By reinserting them into the same online environments where facial recognition is used for surveillance, marketing and classification, the project subtly disrupted how automated systems construct a digital identity. Recognised Faces, 2014
The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
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
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
At the hospital: Gør din pligt og kræv din udredning (Do Your Duty and Demand Your Assessment) and Diagnose gør stærk (Diagnosis Makes You Strong) in the corridor, Frihed, lighed & symptom (Liberty, Equality & Symptom) in the waiting room. Leddyrsomsorg / Arthropod Care, 2026
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
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
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
The festival invited artists to work across the boundaries between history, urban space, and perception, creating site-specific works and lectures that engaged with the city’s social and architectural context. A Subjective History of Gdańsk, 2011
The project includes works such as Detergent (Real Imaginary System) and Auto Navigate My History, which visualize, manipulate, and creatively reimagine the information generated by ordinary activities. Day to Day Data, 2008
The exhibition was noted for providing a rare opportunity to interact with cutting-edge technology in a gallery setting. Mundane Monsters, 2022
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
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 video can be described as a combination of Half-Life 2, Hitchcock's *Vertigo*, and Bridget Riley, rendered in a computer-game-like animation of a man watching a screen. Once We All Walk through Solid Objects, 2007
The wireless transmissions and video projections created an atmosphere where technology and nature intersected in unexpected ways. Mundane Monsters, 2022
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
Diffused States imagines a counterfactual technological history in which graffiti and phone phreaking converged through the discovery that modified spray paint could interact with electromagnetic infrastructure. Diffused States (Boston), 2025
The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021
The sculpture is a giant oyster from a setting where the earth is covered by an endless ocean and people have moved into the oysters, which give them shelter, air, warmth and food. Affluence without abundance, 2025
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
Ørum's contribution used algorithmic depth estimation to analyse one of the recovered photographs and generate a three-dimensional interpretation. Depth Estimation, 2019
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025