Kristoffer Ørum
Digital art.
Comedy.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Works with machines that are confidently wrong.
Not a joke.
A lot of it is waiting for a render to finish.
The voices are those of the people who live in them. Affluence without abundance, 2025
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
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
These objects continuously monitored conversations in the gallery space, converting spoken words into text through automated transcription systems, then physically printing the transcribed text. Listening Without Ears, 2019
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
Day to Day Data highlights the poetic, speculative, and sometimes humorous dimensions of personal and domestic data. Day to Day Data, 2008
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022
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
None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025
The installation asked speculative questions: Can you remember when Prime Minister Helle Thorning played a DJ set in Parliament instead of giving an opening speech? Frihed, Lighed Og Hip-Hop, 2023
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
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
Generated with a Chinese variant of the Huyuan algorithm, the images include intentional misreadings of the runic inscriptions, echoing centuries of translation, loss, and projection. The Good, the Lost, and the Beautiful, 2025
The project also speaks to a transitional moment. Watershed, 2025
Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 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 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
The work involved creating AI-generated posters and videos that depicted an alternative Danish history where the labour movement and 1990s hip-hop culture merged. Frihed, Lighed Og Hip-Hop, 2023
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
The machine's interpretation is not just a poor copy of reality; it creates a new representation with its own logic and uncanny aesthetic. Speaker 1, 2026
Its on-screen lyrics tell the factual story of a 507-year-old clam killed during the scientific process of determining its age. Djurs Øhav, 2020
Using computer vision software, a rapping face appears on the plum, following its movements as the lecturer holds it in front of the webcam. Feathered Misconceptions, 2018
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 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 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 project reflected on the transformation of the district: once a mixed working-class and industrial area, now rapidly becoming an upscale residential neighbourhood. City Planning, 2010
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
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
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 was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The project encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021