Kristoffer Ørum

Kristoffer Ørum

Nothing digital about it. A screen is an object, and objects sit in rooms.

Works with animals that have not agreed to it.

An artist who makes things up about real places.

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

Digital art.

Not a joke.

To understand it, I placed a digital version of myself—a puppet with my face and a clone of my voice—in front of various AIs. Speaker 1, 2026

As tension builds, the man gradually dissolves into the screen, becoming one with the flickering patterns. Once We All Walk through Solid Objects, 2007

An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018

The voices are those of the people who live in them. Affluence without abundance, 2025

In The Old Gate at Folkets Park, Malmö’s working-class history is reactivated through DIY sound system cultures. Even the City Dreams of Being Another, 2025

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

Television screens were also installed, showing interviews that had been produced through workshop-based role play. Invisible Objects, 2016

The aesthetic of this space is deliberately glitchy and non-photorealistic. Watershed, 2025

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

The signs Prognose eller kaos (Prognosis or Chaos) and a second Leddyrsomsorg in the gallery. Leddyrsomsorg / Arthropod Care, 2026

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

This forms a new layer of mediation—one that is constant, pervasive, and almost invisible. Watershed, 2025

Once connected to a computer and powered up, the device generates multiple Wi-Fi networks. Wireless Walnut, 2018

Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025

The work forms part of De Tabte Runesten, a group exhibition returning nine lost cultural artefacts to Rundetaarn through the visions of contemporary artists. The Good, the Lost, and the Beautiful, 2025

Stasm detects the position of 77 facial landmarks on upright, front-facing human faces with neutral expressions. Recognised Faces, 2014

Her head was made of cardboard squares, and as she walked she produced sad and disturbing sounds audible to late-night strollers and joggers. The Ballehage Woman, 2009

In this way, Ørum reconsidered the relationship between national identity, food, body and surveillance, hoping to open up an identity model where it is possible to be foreign, Danish, body and digital representation at the same time. Putin's Nose, 2019

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

Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010

I am also tired of so-called critical art being presented through the same visual culture as fashion: the artist in their beautiful home, in front of their impressive bookshelf, or in their picturesque studio. None of These Images Are of Me, 2025

The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019

The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021

At the moment the building site is a site of overlapping and contested imaginaries and Brownfield Wonderland is a celebration of this brief moment where two ideas of what a city is coexist. Brownfield Wonderland, 2022

Tank Hip-Hop was the inaugural project that launched the multi-year "Freedom, Equality and Hip-Hop" series, built on the fictional relationship between the labour movement and hip-hop culture. Tank Hip-Hop, 2022

Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019

Signal Crayfish was presented as part of "Monstrous Machines," an exhibition on why new technologies provoke fear and how this impacts our perception of technology. Signal_Crayfish, 2021

I am also tired of a “call-out” culture that too easily becomes hostile and makes it difficult to build the broad alliances we need. None of These Images Are of Me, 2025

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

Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025

Each figure is both a memory and a proposition—an echo of what might have been, and a sketch of what still could be. Monuments of a Fictional Past (Kraków Edition), 2025

The work involved 3D-printing signal crayfish models equipped with electromagnetic sensing components. Signal_Crayfish, 2021

Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025

"Sucker Trick" is a collaboration between visual artist Kristoffer Ørum, magician Claus Mulbjerg, and architect Tomas Skovgaard. Sucker Trick, 2017

Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021

*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012

The exhibition was accompanied by the website Mundanemonsters.oerum.org and a series of interventions in the local urban space. Mundane Monsters, 2023

Listening Without Ears consists of 3D printed copies of everyday objects that transcribe what is said in the exhibition space and print it out. Listening Without Ears, 2019

The project operated on several levels with "lines of flight" into the city, online, and in local media. According to the Nose, 2021

This Brownfield Wonderland might very well appear once again when this project is long forgotten, and current norms of what is useful and productive are forgotten. Brownfield Wonderland, 2022

Recognised Faces
Recognised Faces See the work →