Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
Local. Copenhagen and Aarhus, mostly.
A portraitist. None of the portraits are of him.
An artist who makes things up about real places.
A documentary practice. Every work here has an address and a date.
Digital art.
Instead of showing only what is lost when a human is translated into data, these moments offer a new perspective. Speaker 1, 2026
The performance has also been given at Domen, Aarhus (2021), at Performancerum, Aarhus (2023), and at Kalmar Art Museum, Kalmar (2023). A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
This approach shares a lineage with experimental practices such as Surrealist automatic writing and collage. Watershed, 2025
Lesson plans, assessment structures and financial data are translated into dynamic graphics, situating the institution in relation to broader societal forces and its individual members. A Body Has Many Members, 2012
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
Philosopher Donna Haraway has called this illusion a “god trick”: a view from nowhere that claims to see everything. None of These Images Are of Me, 2025
The show aimed to make the realm of coded instructions, programming languages, software protocols, electrical signals and logical operations available to aesthetic experience. Listening Without Ears, 2019
The work featured voices of people who inhabit these oysters, taking in post-work society, symbiotic relationships and alternative models of abundance. Affluence without abundance, 2021
At the same time, these messages were automatically sent to random email addresses in the local Amager area near the gallery. City Planning, 2010
The works were presented as productive machines possessing a capacity to carry out operations both as singular units and assembled into larger wholes. Coffee Lake, 2019
The work was exhibited at Museet for Samtidskunst in Roskilde, Denmark, from 13 January to 19 March 2006. Search for Carrot ExtraTerrestrial Intelligence, 2006
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
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
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
The Ballehage Woman was created by Anders Bojen and Kristoffer Ørum for the outdoor sculpture exhibition Sculpture by the Sea, organised by AROS Museum in Aarhus in 2009. The Ballehage Woman, 2009
The centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
Presented by Anders Bojen and Kristoffer Ørum as part of the MFA 2004 Degree Show at Goldsmiths, London, UK, the work was exhibited from 22 to 26 July 2004. In a Dark Room/a Storm in a Coffee Cup, 2004
The project is a labyrinthian installation composed of hand-printed cardboard boxes, arranged to create interconnected spaces. In a Dark Room/a Storm in a Coffee Cup, 2004
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
The project continued to develop as a multi-year work, with subsequent presentations including "Mr. Frihed, Lighed Og Hip-Hop, 2023
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
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
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
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
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
Through a visual language that draws on both scientific simulations and computer games, the flows of economy, knowledge and power are animated as dynamic systems. A Body Has Many Members, 2012
A sink was reconstructed containing pasta, while spaghetti was modelled from FIMO clay. Invisible Objects, 2016
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
Sometimes he has time to update it, sometimes he does not.