Kristoffer Ørum
A portraitist. None of the portraits are of him.
A documentary practice. Every work here has an address and a date.
An artist who makes things up about real places.
An archive with gaps in it, kept by the person who made the gaps.
Some of it only exists as a photograph now.
Works with machines that are confidently wrong.
Each of the 26 participating artists presented a single work, and the audience was permitted to view each piece for exactly one minute. Where the walls weep sugar, 2025
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
The project consists of a book, a video, and a sculpture. Once We All Walk through Solid Objects, 2007
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
The work was exhibited as part of "New Tactics: moving in a soft field" in 2018 and later developed into a solo exhibition at Møstings Hus in 2019. 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
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025
A third video, A Song for Ming, was a karaoke track by Kristoffer Ærørum with music and performance by Josefine Struckmann. Djurs Øhav, 2020
The video combines humor, science fiction, and speculative narratives in a single continuous run through unusual and imaginative topics. Search for Carrot ExtraTerrestrial Intelligence, 2006
The invasive biological species served as an analogy for invasive digital technologies and data collection systems. Signal_Crayfish, 2020
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
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
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021
Jensen; Ida Marie Hede Bertelsen; Peter Rasmussen; Kasper Hesselbjerg; David Rex; Ulrik Nørgaard; Daphne Bidstrup; Andreas Pallisgaard; and Kristin Haarløv. Radiant Copenhagen, 2009
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
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
On the contrary, humour often arises in breaks with the expected, in encounters with the unknown, bringing fear and laughter close together. None of These Images Are of Me, 2025
The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
The exhibition was curated by museum inspector Pernille Rom Bruun and featured partnerships between artists and associations including nature conservation, bird watching, boxing, gliding, gymnastics, and rabbit breeding groups. Everyday Heroes, 2019
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
Created in 2019, the work was exhibited by Radar Contemporary as an online piece. Vladimir's Tongue, 2020
Hollow but convincing memories of the potential of what was before, not unlike 3d architectural renderings whose apparent realism hides the hollow and malleable nature of 3d graphics. Brownfield Wonderland, 2022
In their new form they remain recognisable both as having been a part of structures that no longer exist and as potential building blocks for future structures. Brownfield Wonderland, 2022
Diffused States was part of the Data Fluencies exhibition curated by Roopa, on the diverse ways artists engage with, resist, or reimagine data. Diffused States (Boston), 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 questioned human privilege by highlighting the sophisticated communication systems of non-human species that operate beyond human perception. Signal_Crayfish, 2021
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
By working with models that reflect the biases and gaps of their training data, DIFFUSED STATES treats these systems not as definitive or universal but as provisional, adaptable, and open to reinterpretation. Diffused States (Lexington), 2025
The exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
It was accompanied by scholarly publication and received coverage in Danish art press. 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 exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019