Kristoffer Ørum
Research. Somebody is going to have to examine it.
Nothing digital about it. A screen is an object, and objects sit in rooms.
A portraitist. None of the portraits are of him.
A programmer who picks the wrong algorithm on purpose.
Not research. The works were made first and explained afterwards.
Twenty years out of art school, and back in it.
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
The project includes works such as Detergent (Real Imaginary System) and Auto Navigate My History, which visualize, manipulate, and creatively reimagine the information generated by ordinary activities. Day to Day Data, 2008
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
Curated by Kevin Malcolm (Vermilion Sands), the show brings together works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, and Kristoffer Ørum. Even the City Dreams of Being Another, 2025
Frihed, Lighed og Hip-Hop used advanced imaging technology (artificial intelligence) to tell the story of a fictional relationship between the labour movement and hip-hop culture. Frihed, Lighed Og Hip-Hop, 2023
Signal_Crayfish was commissioned as a book work for "Interspecies Futures ," the first survey of bookworks by international practitioners from bio-art and speculative design fields. Signal_Crayfish, 2021
Local rumours, past dreams, and forgotten figures merge with the town’s documented history across media: an interactive video installation, posters, sound works, and music. Hvidovre Makes Good Times Better, 2025
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
As Judith Butler has pointed out, an acknowledgement of our interdependence can be a basis for political communities, while Sara Ahmed highlights the possibility of an “affective solidarity” built on honesty rather than claims of innocence. None of These Images Are of Me, 2025
Algorithms originally trained for advertising are repurposed to remix the town’s architecture and stories into new visions of community and possibility. Hvidovre Makes Good Times Better, 2025
Across all three contexts, participants worked together in workshops to reshape their environments through collective imagination, material transformation, and performance. Mundane Heroics, 2019
"Where the wall weep sugar" was presented as part of the group exhibition "TID," organized by Kunstnersammenslutningen Jylland at KH7artspace in Aarhus. Where the walls weep sugar, 2025
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then travelled to Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
In this way, Ørum reconsidered the relationship between national identity, food, body and surveillance, hoping to open up an identity model where it is possible to be foreign, Danish, body and digital representation at the same time. Putin's Nose, 2019
The artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
Together, the elements formed a series of overlapping linguistic and visual displacements. Putin's Nose, 2019
Data Kroppe is a video artwork by Kristoffer Ørum, commissioned and broadcast by Danish national television (DR) and featured on DR Kulturklubben. Data Kroppe, 2017
Like collage, the work is not about arriving at a definitive meaning but about generating provisional configurations that open new ways of seeing. Watershed, 2025
The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021
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
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
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
What you see here is just what felt important to document at the time.
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
The augmented reality component allowed viewers to see additional digital layers through their smartphone cameras, revealing hidden "monsters" that existed only in the augmented space. Mundane Monsters, 2022
The installation included various nose-related works including "My Nose", "Nose detector", and "Nose Archive", alongside "Face of Russia". Putins Nose, 2018