Kristoffer Ørum
Science fiction, set last week.
Digital art.
Comedy.
Twenty years out of art school, and back in it.
A teacher who keeps a studio in order to have something to teach from.
A portraitist. None of the portraits are of him.
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
It is based on the belief that there is no inevitability to the current process of gentrification, it is simply one choice taken out of a million other possible ways we could develop our cities. Brownfield Wonderland, 2022
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 project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
Guests were invited to renegotiate their role — not just as viewers, but as potential participants in a system of storytelling, symbols, and rituals that reframed both the neighbourhood and the museum as shared sites of imagination. Game Continent, 2010
These events never happened; the project sets out what might have been possible. Frihed, Lighed Og Hip-Hop, 2023
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
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
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
What emerges is a narrative of the self that is both enacted and undermined by an indifferent system — an algorithmic account of personality, filtered through the lenses of psychology, technology and cultural expectation. AutoBiography, 2011
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 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
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
The installation used various media to investigate how technology shapes our understanding of faces, identity, and political figures. Putins Nose, 2018
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
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 Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
Putin's Nose worked at the boundary between object and image, examining how digital images not only register meaning but enter physical space to shape identity and power relations. Putins Nose, 2018
Her head was made of cardboard squares, and as she walked she produced sad and disturbing sounds audible to late-night strollers and joggers. The Ballehage Woman, 2009
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
Admitting this is not, in Andrea Fraser’s spirit, a defeat, but a strategy: I would rather acknowledge my own narcissism and greed and use them as material, than pretend I stand outside. None of These Images Are of Me, 2025
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 End of the Universe as We Know It? was a solo exhibition by Anders Bojen & Kristoffer Ørum at Galerie Mikael Andersen in Copenhagen in 2007. The End of the Universe as We Know It?, 2007
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
This invisibility operates on several levels. Watershed, 2025
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
The work departed from the exhibition space but moved as performative action into urban space, with an online component extending the offline event. According to the Nose, 2021
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
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
Within the installation, a microclimate experiment is contained in a coffeemaker, adding subtle atmospheric variation to the space. In a Dark Room/a Storm in a Coffee Cup, 2004
Shown with Colette Fu, Diagonal Press / Tauba Auerbach, Kate Conlon, Myungah Hyon, Neta Bomani, Noam Youngrak Son, Sonnenzimmer / Nick Butcher, Nadine Nakanishi, Rujuta Rao, Stephanie Simek and THUNGRY / bex ya yolk. Signal_Crayfish, 2026
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
"Where the wall weep sugar" was presented as part of the group exhibition "TID," organized by Kunstnersammenslutningen Jylland at KH7artspace in Aarhus. Where the walls weep sugar, 2025
An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019