Kristoffer Ørum
A record-keeper. The website is the work.
A teacher who keeps a studio in order to have something to teach from.
Comedy.
Twenty years out of art school, and back in it.
Solitary. One person decides what is documented and what is forgotten.
Made by hand, mostly. Cut, cast, sanded, painted.
*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012
The virtual creature remained accessible in the Borchs Gård area until 1 March 2022, allowing ongoing public engagement with the augmented reality artwork. The Kolding Creature, 2021
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
It ran across two buildings in Ringsted: the artist-run Ringsted Galleriet on Bøllingsvej 15, and the blood-sampling department of Midt- og Vestsjællands Hospital on Bøllingsvej 30. Leddyrsomsorg / Arthropod Care, 2026
The work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
A Subjective History of Gdańsk is a hallucinatory and subjective presentation of the city of Gdańsk in Poland, a place historically shaped by competing ideologies that have repeatedly renamed and reconstructed it. A Subjective History of Gdańsk, 2011
Despite this, they were largely abandoned in favour of commercially driven binary architectures. Diffused States (Boston), 2025
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
It aligns with the idea that technology, even when shaped by exclusionary structures, can be repurposed towards shared imagination, local autonomy, and slower forms of innovation. Diffused States (Vancouver), 2025
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 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
Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 2019
The exhibition featured works from 26 artists, including paintings, sculptures, photos, and video pieces The exhibition's core concept was uniquely time-based and site-specific. Where the walls weep sugar, 2025
Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019
Another, the film The City that No Longer Exists (2020), was shown as a projection of a purple oyster narrating a story where humans transform into oyster-like beings after their city on a drained lake is flooded. Djurs Øhav, 2020
The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. Depth Estimation, 2019
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019
Anders Bojen and Kristoffer Ørum investigate the hidden systems, routines, and traces that ordinary objects and personal behaviors generate, from domestic habits to browsing histories and household interactions. Day to Day Data, 2008
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
Standing at 1.5 metres, the piece draws on 17th-century drawings by Jón Skonvig, known for his work with antiquarian Ole Worm. The Good, the Lost, and the Beautiful, 2025
Putin's Nose worked at the boundary between object and image, examining how digital images not only register meaning but enter physical space to shape identity and power relations. Putins Nose, 2018
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
Generated with a Chinese variant of the Huyuan algorithm, the images include intentional misreadings of the runic inscriptions, echoing centuries of translation, loss, and projection. The Good, the Lost, and the Beautiful, 2025
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
We are steered by algorithms that curate which images reach us. Watershed, 2025
The project was presented as part of the Alternativa 2011–2012 festival, a contemporary art festival in Gdańsk that focused on experimental and interdisciplinary approaches to art and culture. A Subjective History of Gdańsk, 2011
Fed back into the internet, these phantom portraits acted as a small disturbance within systems of profiling maintained by intelligence agencies, corporations and other data collectors. Recognised Faces, 2014
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014
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
The project was exhibited at General Public in Berlin, tranzit.sk in Bratislava, Casino Luxembourg in Luxembourg, and Fondazione Volume! in Rome, as well as Künstlerhaus Bethanien in Vienna. Topographies of the Insignificant, 2010
While you are reading this text, which has been designed to be unreadable by computers, everything that is said in this room is being recorded. Blind Listening, 2017
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
The work was exhibited at ARoS Public's communication centre on the third floor from May to July 2021, alongside works by Danish and international artists including Lawrence Lek, Morehshin Allahyari, Stephanie Dinkins, and others. Signal_Crayfish, 2021
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019