Kristoffer Ørum
A teacher who keeps a studio in order to have something to teach from.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A lot of it is waiting for a render to finish.
Science fiction, set last week.
An archive with gaps in it, kept by the person who made the gaps.
An artist who makes things up about real places.
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
Facial features in the collected images were identified using Stasm, an open-source software package for facial recognition originally developed for biometric applications. Recognised Faces, 2014
In collaboration with local live role-players, Anders Bojen and Kristoffer Ørum created a fictitious universe whose rules and borders were only fully known to its participants. Game Continent, 2010
Documentation: - Liveart.dk project page - Nilas Dumstrei – Mundane Heroics - Liveart.dk overview - Kristoffer Ørum – Liveart.dk profile - ANTI Festival background - Facebook event archive - Video documentation on YouTube Mundane Heroics, 2019
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
In this counterfactual history, data is not extracted at scale but circulated within communities, adapting to local needs, languages, and cultural references. Diffused States (Lexington), 2025
Like Haraway, I believe the only honest critique must come from a situated place—knowledge that is always embodied, compromised, and grounded in specific contexts. None of These Images Are of Me, 2025
The work documents their attempts to deconstruct a person into data: to apply a label, assign a tracking ID, map the body's motion onto a skeletal grid, and strip a voice down to plain text. Speaker 1, 2026
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
Leddyrsomsorg / Arthropod Care is a twenty-minute video, one of nine works Ørum showed in FORSTADIER / Precursors — a duo exhibition with Aske Thiberg, curated by Morten K Jacobsen and Heidi Hove. Leddyrsomsorg / Arthropod Care, 2026
The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008
Day to Day Data highlights the poetic, speculative, and sometimes humorous dimensions of personal and domestic data. Day to Day Data, 2008
The project is a labyrinthian installation composed of hand-printed cardboard boxes, arranged to create interconnected spaces. In a Dark Room/a Storm in a Coffee Cup, 2004
The Ballehage Woman was created by Anders Bojen and Kristoffer Ørum for the outdoor sculpture exhibition Sculpture by the Sea, organised by AROS Museum in Aarhus in 2009. The Ballehage Woman, 2009
The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
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
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
The installation used various media to investigate how technology shapes our understanding of faces, identity, and political figures. Putins Nose, 2018
Admitting this is not, in Andrea Fraser’s spirit, a defeat, but a strategy: I would rather acknowledge my own narcissism and greed and use them as material, than pretend I stand outside. None of These Images Are of Me, 2025
Watershed is an online art project about the algorithmic gaze in an era of digital news. Watershed, 2025
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
These moments reflect our own unstable, contradictory digital selves. Speaker 1, 2026
The work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014
Blind Listening was presented as part of *I would prefer not to*, an exhibition at Meter (Copenhagen) on the potential of the non-productive, the meaningless, and the functional. Blind Listening, 2017
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
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
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
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
This video asks a question that sits at the heart of our digital lives: how do we appear to a machine? Speaker 1, 2026
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
In their new form they remain recognisable both as having been a part of structures that no longer exist and as potential building blocks for future structures. Brownfield Wonderland, 2022
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
Lesson plans, assessment structures and financial data are translated into dynamic graphics, situating the institution in relation to broader societal forces and its individual members. A Body Has Many Members, 2012
Staged as a series of narrative “figures,” the project invents and documents civic architectures that never existed—but perhaps could have. Monuments of a Fictional Past (Kraków Edition), 2025
One is pink and perforated, carrying a crown and, in mirror writing, "Find them, eat them & enjoy them" — the Danish Nature Agency's advice on the invasive signal crayfish. Signal_Crayfish, 2026