Kristoffer Ørum
A record-keeper. The website is the work.
A documentary practice. Every work here has an address and a date.
A portraitist. None of the portraits are of him.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
The website keeps itself up to date. He does not.
Comedy.
The video can be described as a combination of Half-Life 2, Hitchcock's *Vertigo*, and Bridget Riley, rendered in a computer-game-like animation of a man watching a screen. Once We All Walk through Solid Objects, 2007
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009
The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
Each map focuses on a section of pavement filled with overlooked details such as cigarette butts, coffee spills, chewing gum and small weeds. Topographies of the Insignificant, 2010
Central to the work is a fictional universe populated by figures such as Torkild Simonsen, Aarhus' first hip-hop mayor (1982-1997), and Marc Johnston, who relocated Denmark's capital from Copenhagen to Aarhus in 2019. Aarhus'er #1, 2025
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
The End of the Universe as We Know It? was a solo exhibition by Anders Bojen & Kristoffer Ørum at Galerie Mikael Andersen in Copenhagen in 2007. The End of the Universe as We Know It?, 2007
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025
At the Edge II is supported by Kulturrådet, Malmö stad, Region Skåne, and Statens Kunstfond. Even the City Dreams of Being Another, 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 exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
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
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 took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
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
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
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
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
Retired factory workers repurpose their technical knowledge to build speakers and maintain audio infrastructure, passing skills across generations. Even the City Dreams of Being Another, 2025
The work successfully expanded the "Freedom, Equality and Hip-Hop" series into new institutional and performance contexts. Mr. Spray, 2024
The work functions as a digital rendering where Putin's face operates as an isolated entity, functioning similarly to orthodox religious icons. Vladimir's Tongue, 2020
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
Signal_Crayfish (2021), the book work, shown in Futurity Library: Disobedient Artists' Books in the Postbook Age at the San Francisco Center for the Book, 25 April to 26 July 2026, curated by bex ya yolk. Signal_Crayfish, 2026
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
The exhibition was part of SixtyEight Art Institute's two-year programme "Modes and Notes on the Local". Signal_Crayfish, 2020
The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025
The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
The project challenged both artists and associations to step out of their comfort zones and rethink their practices. Everyday Heroes, 2019
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
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