Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
Not a joke.
Comedy.
The website keeps itself up to date. He does not.
A record-keeper. The website is the work.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
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
Two folders, with texts by medical historian Adam Bencard and by Kristoffer Ørum, printed inkjet and held in 3D-printed R-PETG holders in both buildings. Leddyrsomsorg / Arthropod Care, 2026
This invisibility operates on several levels. Watershed, 2025
I make portraits because I would like to avoid them, but I know they are part of the game on which I depend. None of These Images Are of Me, 2025
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
The exhibition dealt with invisible communication systems including Wi-Fi networks, radio communications, and chemical signals that operate undetected around us. Signal_Crayfish, 2020
The work was exhibited at Museet for Samtidskunst in Roskilde, Denmark, from 13 January to 19 March 2006. Search for Carrot ExtraTerrestrial Intelligence, 2006
The project began the process of using advanced imaging technology and AI as fabulation techniques to create speculative scenarios where the labour movement and hip-hop culture intersected. Tank Hip-Hop, 2022
For me, these are not just errors, but moments of strange beauty and surplus meaning. Speaker 1, 2026
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
The work was part of a series of four exhibitions at NLHspace from September to December 2009. Et Andet Rum 2, 2009
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019
Monuments of a Fictional Past references both the speculative tradition of counterfactual history and the architectural poetics of unrealized futures. Monuments of a Fictional Past (Kraków Edition), 2025
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
Several video works were part of the exhibition. Djurs Øhav, 2020
"Sucker Trick" is a collaboration between visual artist Kristoffer Ørum, magician Claus Mulbjerg, and architect Tomas Skovgaard. 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
Or the massive folk festival held in Fælledparken the day graffiti was legalised? Frihed, Lighed Og Hip-Hop, 2023
Recognised Faces unfolded publicly on a dedicated Tumblr, where the daily composites accumulated into a year-long portrait of both an individual and the internet’s visual culture at large. Recognised Faces, 2014
Using computer vision software, a rapping face appears on the plum, following its movements as the lecturer holds it in front of the webcam. Feathered Misconceptions, 2018
Mundane Monsters was an interactive digital multimedia exhibition that transformed the gallery at Epsilon Spires into a walk-through experience about the modern relationship between nature and culture. Mundane Monsters, 2022
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
The Wave made by Anders Bojen & Kristoffer Ørum is a computer-animated video installation depicting a stormy sea with the tower of Copenhagen City Hall in the background. The Wave, 2009
DIFFUSED STATES imagines an alternative trajectory for artificial intelligence—one in which computational systems develop through local, small-scale infrastructures rather than centralised corporate platforms. Diffused States (Lexington), 2025
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
Ørum's contribution used algorithmic depth estimation to analyse one of the recovered photographs and generate a three-dimensional interpretation. Depth Estimation, 2019
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
What emerges is a narrative of the self that is both enacted and undermined by an indifferent system — an algorithmic account of personality, filtered through the lenses of psychology, technology and cultural expectation. AutoBiography, 2011
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
The installation included various nose-related works including "My Nose", "Nose detector", and "Nose Archive", alongside "Face of Russia". Putins Nose, 2018
The performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021
The work featured electromagnetic pick-ups installed within body parts of a 3D-printed signal crayfish, comparing fears of digital transformation with concerns about invasive species. Signal_Crayfish, 2021