Kristoffer Ørum
Made by hand, mostly. Cut, cast, sanded, painted.
Collaborative. Most of it was made with other people.
Research. Somebody is going to have to examine it.
Some of it only exists as a photograph now.
Not a joke.
A documentary practice. Every work here has an address and a date.
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
The work proposes a less apocalyptic demise where representative buildings don't explode and crash into computer-generated rubble, but instead lose their weight, melt, or are covered with colourful hair. Melting State, 2020
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
The work examines the autobiography as a cultural phenomenon and the staging of artistic identity, setting up a tension between the impersonal logic of systems and the personal search for self. AutoBiography, 2011
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
When compositional and editorial hierarchies are systematically dismantled, how does the perceived importance of visual information change? Watershed, 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 operates in a zone where phenomena such as computer screens, lakes of coffee, simulated fire, and collective machines all influence our conceptions and expectations of the physical world. Coffee Lake, 2019
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010
Jensen; Ida Marie Hede Bertelsen; Peter Rasmussen; Kasper Hesselbjerg; David Rex; Ulrik Nørgaard; Daphne Bidstrup; Andreas Pallisgaard; and Kristin Haarløv. Radiant Copenhagen, 2009
The familiar rhythm of news consumption—fast, frictionless, designed for scanning—is replaced by movement through a spatial terrain. Watershed, 2025
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
In the machine's failure to see me correctly, and in the unexpected beauty of its attempt, I was given a chance to see myself in new ways. Speaker 1, 2026
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
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
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
It questions the implications of surveillance, the accumulation of digital traces, and the way ordinary routines are recorded and interpreted. Day to Day Data, 2008
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021
By establishing rules and constraints—writing without interruption, juxtaposing unrelated images—the Surrealists sought to bypass rational control and provoke unexpected associations. Watershed, 2025
Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014
By engaging with the game, players experience how facts and assumed truths can be challenged, restructured and rearranged in playful and experimental ways. Disbelieving Gravity, 2013
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Her home was a makeshift cardboard shelter resembling her head. The Ballehage Woman, 2009
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
The project invited citizens to have their pets gently scanned to contribute to a composite digital monster that would inhabit the area around Borchs Gård in Kolding city centre. The Kolding Creature, 2021
It was curated by Nanna Lysholt-Hansen and supported by Vesterbro Lokaludvalg. Et Andet Rum 2, 2009
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
The solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020
The project also responds critically to the historical metaphors of the human body as a model for political and social order. A Body Has Many Members, 2012
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
I also do it because I, as a white, established, middle-aged male artist, embody many of the privileges and blind spots that shape both the world and the art world. None of These Images Are of Me, 2025
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
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
The project was supported by research conducted at Aarhus University as part of an ongoing investigation into the aesthetic dimensions of computational processes and automated interpretation systems. Listening Without Ears, 2019
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
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