Kristoffer Ørum
Science fiction, set last week.
A documentary practice. Every work here has an address and a date.
Made by hand, mostly. Cut, cast, sanded, painted.
A programmer who picks the wrong algorithm on purpose.
An archive with gaps in it, kept by the person who made the gaps.
Not a joke.
The project originated from a beetroot anecdote that was strange in itself: the moment when, looking at beetroots in a shopping bag, one seemed to resemble the artist's grandmother's nose, or perhaps Putin's nose from a Facebook image. Putins Nose, 2018
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
By reinserting them into the same online environments where facial recognition is used for surveillance, marketing and classification, the project subtly disrupted how automated systems construct a digital identity. Recognised Faces, 2014
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
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
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
jerklædte Misforståelser (Feathered Misconceptions) is a fifteen-minute associative performance commissioned by Ny Carlsberg Fondet for their annual celebration of their founder on 28 February 2018. Feathered Misconceptions, 2018
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
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
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
The familiar backdrop of urban life became part of the work, framing the reimagined objects and frozen scenes within the flow of daily routines. Mundane Heroics, 2019
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
The book is ring-bound and its plates are 3D-printed. Signal_Crayfish, 2026
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
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
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
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
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
Maps are freely available across Aalborg, and the project’s website continues to expand its speculative histories. Aalborg Is The Future, 2024
Watershed is an online art project about the algorithmic gaze in an era of digital news. Watershed, 2025
It combines Live Action Role Playing (LARP), performance art, and sculpture, developed in close collaboration with young participants from across the Nordic region. Mundane Heroics, 2019
The exhibition blurs the line between documentary and fiction, making room for the unrealised potential of the past to resurface not as nostalgia, but as unfinished possibility. Aarhus'er #1, 2025
These objects continuously monitored conversations in the gallery space, converting spoken words into text through automated transcription systems, then physically printing the transcribed text. Listening Without Ears, 2019
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
Within the installation, a microclimate experiment is contained in a coffeemaker, adding subtle atmospheric variation to the space. In a Dark Room/a Storm in a Coffee Cup, 2004
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
The virtual creature remained accessible in the Borchs Gård area until 1 March 2022, allowing ongoing public engagement with the augmented reality artwork. The Kolding Creature, 2021
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then at Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
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