Kristoffer Ørum
An archive with gaps in it, kept by the person who made the gaps.
Local. Copenhagen and Aarhus, mostly.
Twenty years out of art school, and back in it.
A documentary practice. Every work here has an address and a date.
Works with machines that are confidently wrong.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
The familiar rhythm of news consumption—fast, frictionless, designed for scanning—is replaced by movement through a spatial terrain. Watershed, 2025
The opening performance on 30 May 2024 was paired with Linnea Langfjord's work on alternative presents focused on care and slowness in the art world. Mr. Spray, 2024
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
The Good, the Lost, and the Beautiful is a reconstruction of the Lee-stone, one of nine runestones believed to have been lost in the Copenhagen Fire of 1728. The Good, the Lost, and the Beautiful, 2025
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
Strange audio players and distorted timelines hint at other ways things could have turned out, with hip-hop positioned not as a fixed genre or imported form, but as a set of evolving principles. Aarhus'er #1, 2025
Algorithms originally trained for advertising are repurposed to remix the town’s architecture and stories into new visions of community and possibility. Hvidovre Makes Good Times Better, 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 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
Produced for Aarhus Public Libraries and published by Haandholdt, the app was made freely available through iTunes. KAOS, 2012
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
Spray was the third part of a multi-year project that began with "Tank Hip-Hop" at Retro Avantgarde in Kongegaarder and continued with "Freedom, Equality, and Hip-Hop" at Sydhavn Station in November 2023. Mr. Spray, 2024
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
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
Some elements are only revealed through exploration, others remain invisible, and a hidden part of the project can be discovered by persistent visitors. Topographies of the Insignificant, 2010
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
The city of Aarhus serves as both source and subject, remixed through the lens of local imagination and global street culture. Aarhus'er #1, 2025
The collaboration process involved both artists visiting associations for fieldwork and associations visiting the museum for workshop days that became the foundation for the exhibited artworks. Everyday Heroes, 2019
Being your own record-keeper means accepting these gaps and changes.
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
The project's visual materials referenced aesthetics from Djurs Sommerland and airplane safety folders. Djurs Øhav, 2020
The work combines AI-generated imagery with human-written captions, forming a dispersed narrative around how such systems might emerge—from grassroots tinkering to collectively governed infrastructures and hyper-local training data. Diffused States (Vancouver), 2025
A computer transcribes the audio files it has captured and translates them into Danish, before uploading the text to Meter’s homepage. Blind Listening, 2017
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
Local rumours, past dreams, and forgotten figures merge with the town’s documented history across media: an interactive video installation, posters, sound works, and music. Hvidovre Makes Good Times Better, 2025
We are used to our own sight, shaped by memory and emotion, and to the camera's lens, with its illusion of objectivity. Speaker 1, 2026
This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021
The project draws inspiration from the largely forgotten history of ternary computing—an alternative to binary systems that operates on three states: true, false, and unknown. Diffused States (Boston), 2025
Call-outs have of course played an important role in making injustices visible, but when they are based on an idea of moral purity, they also create distance. None of These Images Are of Me, 2025
It continues a line of work on identity, architecture and urban development begun in At the Edge I (Copenhagen, 2024), now more firmly rooted in Malmö’s local context. Even the City Dreams of Being Another, 2025