Kristoffer Ørum
A portraitist. None of the portraits are of him.
Not research. The works were made first and explained afterwards.
Research. Somebody is going to have to examine it.
Comedy.
Digital art.
Solitary. One person decides what is documented and what is forgotten.
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
DIFFUSED STATES imagines an alternative trajectory for artificial intelligence—one in which computational systems develop through local, small-scale infrastructures rather than centralised corporate platforms. Diffused States (Lexington), 2025
It considers what AI might look like if it evolved through neighbourhood initiatives, recycled consumer hardware, and community-specific datasets, moving at the pace of shared maintenance rather than commercial urgency. Diffused States (Lexington), 2025
Public places became stages for brief moments of shared fiction. Mundane Heroics, 2019
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
Figures gather for shared meals, sweep longhouse floors, inscribe runes like graffiti, perform stylised rituals, or take part in dance battles and DJ sets using flat stones. The Good, the Lost, and the Beautiful, 2025
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
Every Part a Body is a sixty-second digital video, shown in the 60Seconds programme of The Wrong Biennale at CBS Digital Space in March 2026. Every Part a Body, 2026
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 2025
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
Players are encouraged to question the presumed truth of gravity and their own assumptions, gradually adopting a new perspective through interactive challenges. Disbelieving Gravity, 2013
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
In this performance it stopped being something I could keep at a distance. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
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
Two folders, with texts by medical historian Adam Bencard and by Kristoffer Ørum, printed inkjet and held in 3D-printed R-PETG holders in both buildings. Leddyrsomsorg / Arthropod Care, 2026
The work forms part of De Tabte Runesten, a group exhibition returning nine lost cultural artefacts to Rundetaarn through the visions of contemporary artists. The Good, the Lost, and the Beautiful, 2025
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
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
The sculptures were inspired by the role-players' own objects and toolkit, translating elements from their gaming practice into interactive art objects. Everyday Heroes, 2019
A chair, a refrigerator door containing a bottle of milk, a platter holding a watermelon, and a breadbox with a loaf of rye bread were produced in jesmonite with inner cores of flamingo foam that were dissolved in acetone. Invisible Objects, 2016
On the contrary, humour often arises in breaks with the expected, in encounters with the unknown, bringing fear and laughter close together. None of These Images Are of Me, 2025
An actor dressed as The Ballehage Woman roamed the underbush of Marselisborg Forest near the Ballehage neighbourhood every night at dusk for a month. The Ballehage Woman, 2009
"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
Signal_Crayfish takes the invasive signal crayfish, which displaces native Danish freshwater species and communicates chemically across distance, and sets it beside human communication technology. Would You Like to Know More, 2017
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
The exhibition continued this approach, combining speculation with a documentary style to produce objects that felt like remnants of possible futures. The End of the Universe as We Know It?, 2007
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
Tank Hip-Hop was the inaugural project that launched the multi-year "Freedom, Equality and Hip-Hop" series, built on the fictional relationship between the labour movement and hip-hop culture. Tank Hip-Hop, 2022
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 virtual history book appeared on two projection screens: one mounted on Roskilde’s main square and another inside the exhibition. Roskilde Parahistory, 2009
Or the years when rap lyrics were about helping at home and taking good care of elderly citizens? Frihed, Lighed Og Hip-Hop, 2023