Kristoffer Ørum
Local. Copenhagen and Aarhus, mostly.
Solitary. One person decides what is documented and what is forgotten.
Works with machines that are confidently wrong.
Not a joke.
A portraitist. None of the portraits are of him.
Collaborative. Most of it was made with other people.
NLHspace was initiated in 2006 by artist Nanna Lysholt Hansen and operated as an "always open / always closed" space. Et Andet Rum 2, 2009
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025
All masks were thoroughly cleaned and sprayed with disinfectant after each user, with lending against deposit such as a driver's license or telephone. According to the Nose, 2021
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
The English word cancer comes from the Greek for crab: the swollen veins around a tumour were thought to resemble a crab's limbs. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The project originated from a beetroot anecdote that was strange in itself: the moment when, looking at beetroots in a shopping bag, one seemed to resemble the artist's grandmother's nose, or perhaps Putin's nose from a Facebook image. Putins Nose, 2018
I make portraits because I would like to avoid them, but I know they are part of the game on which I depend. None of These Images Are of Me, 2025
The performance questions traditional notions of heroic bodies and monochrome histories, imagining instead non-heroic bodies in soft, feathered institutions that function as part of a collective ecosystem. Feathered Misconceptions, 2018
When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 2025
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
Every Part a Body is a sixty-second digital video, shown in the 60Seconds programme of The Wrong Biennale at CBS Digital Space in March 2026. Every Part a Body, 2026
Melting State is a video installation on three screens where the buildings of Statens Kunstfond, Det Kongelige Kunstakademi, and Kulturministeriet are subjected to computer-generated physics simulations. Melting State, 2020
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
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
The Downloadable Augmented Reality App (available here: https://s.oerum.org/BW) allows one to build one's own messy and unregulated digital architectures, both on and off the building site around Spanien 19C. Brownfield Wonderland, 2022
Rather than corporate development, this speculative trajectory imagines ternary computing as evolving through grassroots cultures of experimentation and resistance. Diffused States (Boston), 2025
The augmented reality component allowed viewers to see additional digital layers through their smartphone cameras, revealing hidden "monsters" that existed only in the augmented space. Mundane Monsters, 2022
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 work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
The faces produced through this process often appear distorted or uncanny to human eyes, yet they retain a resemblance to mainstream ideals of beauty. Recognised Faces, 2014
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
Through these monstrous and bizarre creatures, the work addressed our relationship to more familiar creatures and digital systems that we share the modern technological world with. Mundane Monsters, 2023
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
Anders Bojen and Kristoffer Ørum focus on Isaac Newton’s theory of gravity and the metaphors and assumptions surrounding it. Disbelieving Gravity, 2013
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
The performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019
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
Another, the film The City that No Longer Exists (2020), was shown as a projection of a purple oyster narrating a story where humans transform into oyster-like beings after their city on a drained lake is flooded. Djurs Øhav, 2020
We are collectively searching for new grammars of public discourse. Watershed, 2025
From advertising screens on buses to personal mobile phones, we are daily surrounded by lifelike computer-generated representations of physical phenomena. Melting State, 2020
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
On the screen of a phone or tablet, one can arrange a combination of scaffolding, 3d scans from the site and architectural fragments into an unstable and intangible building mass. Brownfield Wonderland, 2022
The installation included various nose-related works including "My Nose", "Nose detector", and "Nose Archive", alongside "Face of Russia". Putins Nose, 2018
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
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
The project used the signal crayfish as a figure for examining digital surveillance and mapping of human movement through wireless networks. Signal_Crayfish, 2020
Signal_Crayfish was commissioned as a book work for "Interspecies Futures ," the first survey of bookworks by international practitioners from bio-art and speculative design fields. Signal_Crayfish, 2021
The solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020