Kristoffer Ørum
Digital art.
Comedy.
Twenty years out of art school, and back in it.
An artist who makes things up about real places.
A teacher who keeps a studio in order to have something to teach from.
A record-keeper. The website is the work.
Anders Bojen and Kristoffer Ørum investigate the hidden systems, routines, and traces that ordinary objects and personal behaviors generate, from domestic habits to browsing histories and household interactions. Day to Day Data, 2008
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
Roskilde Parahistory was part of the group exhibition Kurs at the Museum of Contemporary Art in Roskilde in 2009. Roskilde Parahistory, 2009
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
Curated by Kevin Malcolm (Vermilion Sands), the show brings together works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, and Kristoffer Ørum. Even the City Dreams of Being Another, 2025
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
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
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 wireless transmissions and video projections created an atmosphere where technology and nature intersected in unexpected ways. Mundane Monsters, 2022
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019
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
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
Sometimes he has time to update it, sometimes he does not.
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
It questions the implications of surveillance, the accumulation of digital traces, and the way ordinary routines are recorded and interpreted. Day to Day Data, 2008
Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
As a user zooms in on a fragment, its pixel structure reveals itself, breaking the illusion of seamlessness. Watershed, 2025
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
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
Disparate subjects such as English Vorticism, brainwaves, animal perception, and doomsday scenarios were connected in an increasingly ambitious thesis. The Pattern In Us All, 2007
The work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
One is pink and perforated, carrying a crown and, in mirror writing, "Find them, eat them & enjoy them" — the Danish Nature Agency's advice on the invasive signal crayfish. Signal_Crayfish, 2026
Anders Bojen and Kristoffer Ørum focus on Isaac Newton’s theory of gravity and the metaphors and assumptions surrounding it. Disbelieving Gravity, 2013
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
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
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
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
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
While not free from environmental impact, this approach reflects an effort to minimize resource use and ecological harm in the project’s production. Hvidovre Makes Good Times Better, 2025
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026