Kristoffer Ørum

Kristoffer Ørum

Mostly it is admin.

Twenty years out of art school, and back in it.

A programmer who picks the wrong algorithm on purpose.

An archive with gaps in it, kept by the person who made the gaps.

A documentary practice. Every work here has an address and a date.

Works with machines that are confidently wrong.

It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022

It positions deliberate misunderstanding as a productive alternative to seamless digital communication and reliable interpretation systems. Feathered Misconceptions, 2018

The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021

The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019

The collaboration involved fieldwork where Ørum spent time with the role-playing association in their regular activities, including battles in Hansted Forest and gaming sessions. Everyday Heroes, 2019

The title refers to multiple forms of diffusion: the technical process of algorithmic image generation; the physical dispersion of paint; and the informal, community-based spread of knowledge and technology. 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 result is a fleeting, fractured archive of the collective present—an algorithmic shadow of daily events. https://oerum.org/watershed/ Watershed, 2025

The works were presented as productive machines possessing a capacity to carry out operations both as singular units and assembled into larger wholes. Coffee Lake, 2019

Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025

The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021

The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021

Being your own record-keeper means accepting these gaps and changes.

The exhibition featured works from 26 artists, including paintings, sculptures, photos, and video pieces The exhibition's core concept was uniquely time-based and site-specific. Where the walls weep sugar, 2025

Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019

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 exhibition took as its subject the sources of inspiration behind artistic practice, inviting 35 Danish artists to contribute an object, material, or work that revealed part of their process. Auto Navigate My History, 2014

Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025

Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021

Layers of paint, repurposed tools, and collective modifications create temporary architectural shifts, reflecting the rhythms of everyday life and shared space. Even the City Dreams of Being Another, 2025

The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021

Inside the exhibition space at Sydhavn Station (housed in a former DSB kiosk), the walls were painted with abstract graffiti and AI-generated videos showed various demonstrations and concerts related to this fictional history. Frihed, Lighed Og Hip-Hop, 2023

The opening performance on 30 May 2024 was paired with Linnea Langfjord's work on alternative presents focused on care and slowness in the art world. Mr. Spray, 2024

The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017

Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024

AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024

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 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

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 work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014

Exhibited in several international contexts, the piece was shown in The Blender’s Orbit (Kingly Court, London), Time Pop 2 (Prince Charles Cinema, London), and Loop Pool (Raum für Projection, Oberhausen). The Perfect Wave, 2004

Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021

By framing the narrative as a myth, the artists connected the story of The Ballehage Woman to broader experiences of people excluded from society due to norms around appearance and behavior in Denmark. The Ballehage Woman, 2009

The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022

This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014

The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019

The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012

Watershed is an online art project about the algorithmic gaze in an era of digital news. Watershed, 2025

The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020

The project began the process of using advanced imaging technology and AI as fabulation techniques to create speculative scenarios where the labour movement and hip-hop culture intersected. Tank Hip-Hop, 2022

Disbelieving Gravity
Disbelieving Gravity See the work →