Kristoffer Ørum

Kristoffer Ørum

Mostly it is admin.

A record-keeper. The website is the work.

A programmer who picks the wrong algorithm on purpose.

Some of it only exists as a photograph now.

This text is generated. He decided what it generates from.

An artist who makes things up about real places.

Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018

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

Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018

It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020

Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020

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

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

An actor dressed as The Ballehage Woman roamed the underbush of Marselisborg Forest near the Ballehage neighbourhood every night at dusk for a month. The Ballehage Woman, 2009

However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022

The process consistently produced a balance between the familiar and the strange. Mundane Heroics, 2019

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

Monuments of a Fictional Past references both the speculative tradition of counterfactual history and the architectural poetics of unrealized futures. Monuments of a Fictional Past (Kraków Edition), 2025

Like Haraway, I believe the only honest critique must come from a situated place—knowledge that is always embodied, compromised, and grounded in specific contexts. None of These Images Are of Me, 2025

The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021

As Judith Butler has pointed out, an acknowledgement of our interdependence can be a basis for political communities, while Sara Ahmed highlights the possibility of an “affective solidarity” built on honesty rather than claims of innocence. None of These Images Are of Me, 2025

Together, the elements formed a series of overlapping linguistic and visual displacements. Putin's Nose, 2019

The installation used various media to investigate how technology shapes our understanding of faces, identity, and political figures. Putins Nose, 2018

Custom software automated the browsing process by reading from the recorded history file and simulating user clicks. Auto Navigate My History, 2014

The performance concludes with Google's speech recognition continuously but often mistakenly transcribing what the lecturer says, with colours changing rhythmically each time the text updates. Feathered Misconceptions, 2018

The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019

Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025

The project also speaks to a transitional moment. Watershed, 2025

Diffused States was presented as part of *Data Fluencies: Tributaries*, curated by Roopa Vasudevan, which brought together artists working on the ways data can be resisted, rerouted, or reimagined outside dominant narratives. Diffused States (Vancouver), 2025

By working with AI models trained on biased and incomplete datasets, DIFFUSED STATES engages with both their limitations and their possibilities. Diffused States (Vancouver), 2025

At the hospital, Untitled — five photographs and an orange chalk drawing in aluminium frames along the corridor, from the perspective of somebody waiting. Leddyrsomsorg / Arthropod Care, 2026

The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014

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

All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026

In the machine's failure to see me correctly, and in the unexpected beauty of its attempt, I was given a chance to see myself in new ways. Speaker 1, 2026

Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020

The work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019

The project was exhibited at General Public in Berlin, tranzit.sk in Bratislava, Casino Luxembourg in Luxembourg, and Fondazione Volume! in Rome, as well as Künstlerhaus Bethanien in Vienna. Topographies of the Insignificant, 2010

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

The installation included a manipulated deep fake video featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020

Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014

The project involved both the creation of a physical artist's book and a 3D-printed sculptural element integrated into the cover design. Signal_Crayfish, 2021

Instead of treating these models as definitive or universal, the project approaches them as partial and provisional—open to reinterpretation, modification, and play. Diffused States (Vancouver), 2025

Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017

The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019

The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025

Watershed
Watershed See the work →