Kristoffer Ørum
Not research. The works were made first and explained afterwards.
Nothing digital about it. A screen is an object, and objects sit in rooms.
An artist who makes things up about real places.
Research. Somebody is going to have to examine it.
Not a joke.
Digital art.
The installation is accompanied by a series of AI-generated postcards that reimagine Viking life in the style of idealised holiday imagery. The Good, the Lost, and the Beautiful, 2025
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
Signal Crayfish was presented as part of "Monstrous Machines," an exhibition on why new technologies provoke fear and how this impacts our perception of technology. Signal_Crayfish, 2021
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
Caught between constant computer-generated simulations of destruction and status quo institutions, it becomes difficult to imagine that the welfare state can be replaced by something different and better. Melting State, 2020
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
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
As a user zooms in on a fragment, its pixel structure reveals itself, breaking the illusion of seamlessness. Watershed, 2025
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
The collaboration involved fieldwork where Ørum spent time with the role-playing association in their regular activities, including battles in Hansted Forest and gaming sessions. Everyday Heroes, 2019
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
In the post-totalitarian context of Latvia, where memory is often manipulated for political purposes, the work offers a reminder that the past is not fixed and demonstrates the fluidity of historical narratives. Monuments of A Fictitious Past, 2024
To understand it, I placed a digital version of myself—a puppet with my face and a clone of my voice—in front of various AIs. Speaker 1, 2026
Some appear edible, some pneumatic, some built from sound or breath. Monuments of a Fictional Past (Kraków Edition), 2025
Shown with Colette Fu, Diagonal Press / Tauba Auerbach, Kate Conlon, Myungah Hyon, Neta Bomani, Noam Youngrak Son, Sonnenzimmer / Nick Butcher, Nadine Nakanishi, Rujuta Rao, Stephanie Simek and THUNGRY / bex ya yolk. Signal_Crayfish, 2026
Recognized for its experimental approach, Data Kroppe is cataloged in the Danish public digital archive Vores Kunst, which preserves commissioned television art. Data Kroppe, 2017
The project treats these everyday activities as data sources capable of producing narratives, insights, and imaginative associations. Day to Day Data, 2008
This breaks with the idea of a coherent and authentic artistic subject—an illusion that the art market is still deeply dependent on. None of These Images Are of Me, 2025
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
These images, generated through AI, deliberately embrace glitches and impossibilities to question how historical narratives are constructed and repeated. Aarhus'er #1, 2025
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
The symposium featured artists and scholars examining contemporary forms of image making and computational apparatus, investigating relations between desire and automation, uncertainty and labour, self and other. It Sings for Us of What We Might Become, 2019
Everyday objects were recognisable yet altered. Mundane Heroics, 2019
All images were generated using Flux.1 diffusion models from Black Forest, on a used computer powered by green-certified Nordic solar, wind, and hydro energy. Hvidovre Makes Good Times Better, 2025
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
"Vladimir's Tongue" is a digital work that distributes Putin's face online by adding it onto viewers' bodies through their webcam. Vladimir's Tongue, 2020
The 3D printed objects served as camouflaged recording devices, appearing as innocuous everyday items while performing the technical operation of speech-to-text conversion. Listening Without Ears, 2019
The contrast is not presented as a solution but as a tool of critique—making the invisible conventions of ordinary web interfaces visible by inverting them. Watershed, 2025
Together, the elements formed a series of overlapping linguistic and visual displacements. Putin's Nose, 2019
A collective of ten artists, led by Anders Bojen and Kristoffer Ørum, documented these spaces and transformed them into an interconnected web of associations, facts, myths and misunderstandings. Topographies of the Insignificant, 2010
The work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019
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
The project draws on the history of low-resource and locally maintained computing, from community-run bulletin board systems to peer-to-peer networks sustained by recycled hardware. Diffused States (Vancouver), 2025
Some pieces he remembers to add, others he forgets.
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025