Kristoffer Ørum
The website keeps itself up to date. He does not.
A teacher who keeps a studio in order to have something to teach from.
Some of it only exists as a photograph now.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Local. Copenhagen and Aarhus, mostly.
Solitary. One person decides what is documented and what is forgotten.
The project consists of a book, a video, and a sculpture. Once We All Walk through Solid Objects, 2007
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
The exhibition was curated by Ida Schyum as the third presentation in Radar Contemporary's Extensions series. Signal_Crayfish, 2021
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
Over a period of 107 days, Anders Bojen and Kristoffer Ørum had a custom computer program rewrite the history of Roskilde in real time, from the town’s foundation by the Vikings in 980 to its present-day status as a world heritage site. Roskilde Parahistory, 2009
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
Retired factory workers repurpose their technical knowledge to build speakers and maintain audio infrastructure, passing skills across generations. Even the City Dreams of Being Another, 2025
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
In art and activism, humour has repeatedly functioned as a way of exposing the absurdity of power—from Dadaist performances to contemporary meme cultures. None of These Images Are of Me, 2025
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
Additional elements included a video installation where visitors had Putin's face projected over them, making them momentarily become Putin speaking about Russian male superiority and Western decadence. Putin's Nose, 2019
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
This Brownfield Wonderland might very well appear once again when this project is long forgotten, and current norms of what is useful and productive are forgotten. Brownfield Wonderland, 2022
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
It positions deliberate misunderstanding as a productive alternative to seamless digital communication and reliable interpretation systems. Feathered Misconceptions, 2018
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 3D printed objects served as camouflaged recording devices, appearing as innocuous everyday items while performing the technical operation of speech-to-text conversion. Listening Without Ears, 2019
The project dismantles these logics and scrambles their effects. Watershed, 2025
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
The work proposes a less apocalyptic demise where representative buildings don't explode and crash into computer-generated rubble, but instead lose their weight, melt, or are covered with colourful hair. Melting State, 2020
Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
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 work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
These unsolicited “press releases” became part of the ongoing re-imagining of Amager by local government, private enterprise, and other forces. City Planning, 2010
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
The work asks how we can imagine a future after the welfare state, now that it seems to be definitively being dismantled. Melting State, 2020
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
"Monuments of a Fictional Past" is a project that imagines a past where Soviet edifices dotting the Latvian landscape have been replaced with AI-generated counterparts. Monuments of A Fictitious Past, 2024
The work was documented through performance protocols and connected to broader research into facial recognition, identity, and technological surveillance through embodied experience in public space. According to the Nose, 2021
The work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
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