Kristoffer Ørum
A record-keeper. The website is the work.
Twenty years out of art school, and back in it.
Research. Somebody is going to have to examine it.
Local. Copenhagen and Aarhus, mostly.
Not research. The works were made first and explained afterwards.
A lot of it is waiting for a render to finish.
Participants borrowed nose-shaped masks equipped with audio guides from Lokale, taking them on walks through the Nørrebro area around Griffenfeldsgade 27. According to the Nose, 2021
The installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
The project constructed a local myth about a deformed outcast living in a park frequented by wealthy residents. The Ballehage Woman, 2009
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
The images are unstable and shifting, conjuring a welfare system built on an uneasy combination of nature and technology that is neither utopian nor dystopian but simply strange and somehow plausible. Leddyrsomsorg / Arthropod Care, 2026
Combining elements from the early labor movement with the local hip-hop culture of the 1990s, the project looks for untapped potential where creativity, community, and enjoyment take center stage. Aalborg Is The Future, 2024
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
Like collage, the work is not about arriving at a definitive meaning but about generating provisional configurations that open new ways of seeing. Watershed, 2025
Fed back into the internet, these phantom portraits acted as a small disturbance within systems of profiling maintained by intelligence agencies, corporations and other data collectors. Recognised Faces, 2014
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
These moments reflect our own unstable, contradictory digital selves. Speaker 1, 2026
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
For me, these are not just errors, but moments of strange beauty and surplus meaning. Speaker 1, 2026
It employs a computational process to dismantle and reassemble the daily flow of news images into a navigable world built from their fragments. Watershed, 2025
The artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
Disbelieving Gravity is an interactive online game created for the Net.Specific exhibition Communication Paths. Disbelieving Gravity, 2013
Search for Carrot ExtraTerrestrial Intelligence, 2006, is a PAL DVD video with a duration of 22 minutes, created in collaboration with Anders Bojen. Search for Carrot ExtraTerrestrial Intelligence, 2006
The city of Aarhus serves as both source and subject, remixed through the lens of local imagination and global street culture. Aarhus'er #1, 2025
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
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
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
Over the past year, I have created a series of self-portraits using locally run AI. None of These Images Are of Me, 2025
The result is a fleeting, fractured archive of the collective present—an algorithmic shadow of daily events. https://oerum.org/watershed/ Watershed, 2025
The work takes up how electronic systems constantly push at our understanding of who we are, our history and context, suggesting that their constant misunderstanding provides opportunities to see the world with fresh eyes. Feathered Misconceptions, 2018
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
The project has been discussed in Vice and elsewhere as a reflection on surveillance, aesthetics and identity in the age of algorithmic vision. Recognised Faces, 2014
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
It continues a line of work on identity, architecture and urban development begun in At the Edge I (Copenhagen, 2024), now more firmly rooted in Malmö’s local context. Even the City Dreams of Being Another, 2025
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
Topographies of the Insignificant is a web-based project from 2010 presenting a series of micro-topological maps of ultra-local spaces in five European cities: Berlin, Bratislava, Luxembourg, Rome and Vienna. Topographies of the Insignificant, 2010
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014
The oysters provide shelter, regulate air quality, supply electricity and heating, and monitor their human inhabitants' health and behaviour. Affluence without abundance, 2021
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021