Kristoffer Ørum
Solitary. One person decides what is documented and what is forgotten.
Nothing digital about it. A screen is an object, and objects sit in rooms.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Digital art.
Most of it was built on other people's work.
Mostly it is admin.
The Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
This process dismantles the images into fragments by “flooding” a grayscale version of an image from its darkest points to its lightest, just as rainwater would fill a real-world mountainous landscape from its lowest valleys. Watershed, 2025
The project reflected on the transformation of the district: once a mixed working-class and industrial area, now rapidly becoming an upscale residential neighbourhood. City Planning, 2010
The installation examined how concealment can create tension between what is covered and potentially uncovered. Sucker Trick, 2017
The invasive biological species served as an analogy for invasive digital technologies and data collection systems. Signal_Crayfish, 2020
Several video works were part of the exhibition. Djurs Øhav, 2020
We are steered by algorithms that curate which images reach us. Watershed, 2025
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
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
Simultaneously with the physical performances, stories of The Ballehage Woman were disseminated across media including a website, YouTube video, Google ads, newspaper articles, and emails. The Ballehage Woman, 2009
A ghostly city that is no less real than the cities summoned forth in digital renderings by architects and planners to convince us of the future they are proposing. Brownfield Wonderland, 2022
Shown with Colette Fu, Diagonal Press / Tauba Auerbach, Kate Conlon, Myungah Hyon, Neta Bomani, Noam Youngrak Son, Sonnenzimmer / Nick Butcher, Nadine Nakanishi, Rujuta Rao, Stephanie Simek and THUNGRY / bex ya yolk. Signal_Crayfish, 2026
Signal_Crayfish takes the invasive signal crayfish, which displaces native Danish freshwater species and communicates chemically across distance, and sets it beside human communication technology. Would You Like to Know More, 2017
The project continued to develop as a multi-year work, with subsequent presentations including "Mr. Frihed, Lighed Og Hip-Hop, 2023
The sculptures were inspired by the role-players' own objects and toolkit, translating elements from their gaming practice into interactive art objects. Everyday Heroes, 2019
The launch (December 7, 2024) consisted of a performative city walk, a community meal, and a concert with Christian Høgh, organized with f.eks. and supported by multiple cultural partners. Aalborg Is The Future, 2024
Aarhus'er #1 is the most expansive chapter in Kristoffer Ørum's ongoing counterfactual project "Frihed, lighed og hip-hop" (Freedom, Equality and Hip-Hop), created in collaboration with rapper Emilio Hestepis. Aarhus'er #1, 2025
The exhibition recounted the story of a black magnetic fluid, ferrofluid, that generated forms and figures without human interaction. The End of the Universe as We Know It?, 2007
At the same time, these messages were automatically sent to random email addresses in the local Amager area near the gallery. City Planning, 2010
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
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
I miss images that are weird, flawed, or personal. None of These Images Are of Me, 2025
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
The photographs were found in a cabin after the vessel had spent seven days on the seabed, having been exposed to three atmospheres of pressure and salt water. Depth Estimation, 2019
The exhibition consisted of a series of household objects and sculptural forms recreated in unusual materials and fitted with custom electronics. Invisible Objects, 2016
The Perfect Wave (2004) is a 3D animated video work by Anders Bojen & Kristoffer Ørum that takes as its subject the iconic and endlessly recurring image of a single wave. The Perfect Wave, 2004
Putin's Nose began with an everyday moment: looking into a shopping bag full of groceries and noticing a beetroot that, for a moment, looked like the artist's Russian grandmother's nose. Putin's Nose, 2019
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
Layers of paint, repurposed tools, and collective modifications create temporary architectural shifts, reflecting the rhythms of everyday life and shared space. Even the City Dreams of Being Another, 2025
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
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
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 headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026