Kristoffer Ørum
A lot of it is waiting for a render to finish.
A documentary practice. Every work here has an address and a date.
The website keeps itself up to date. He does not.
The machines are collaborators and cannot be credited.
Digital art.
Nothing digital about it. A screen is an object, and objects sit in rooms.
We are steered by algorithms that curate which images reach us. Watershed, 2025
Over a period of 107 days, Anders Bojen and Kristoffer Ørum had a custom computer program rewrite the history of Roskilde in real time, from the town’s foundation by the Vikings in 980 to its present-day status as a world heritage site. Roskilde Parahistory, 2009
Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025
In collaboration with local live role-players, Anders Bojen and Kristoffer Ørum created a fictitious universe whose rules and borders were only fully known to its participants. Game Continent, 2010
The voices are those of the people who live in them. Affluence without abundance, 2025
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
At the hospital, Untitled — five photographs and an orange chalk drawing in aluminium frames along the corridor, from the perspective of somebody waiting. Leddyrsomsorg / Arthropod Care, 2026
The work was reviewed in The Brooklyn Rail and included in a panel discussion about interspecies publications created during the pandemic. Signal_Crayfish, 2021
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
The Downloadable Augmented Reality App (available here: https://s.oerum.org/BW) allows one to build one's own messy and unregulated digital architectures, both on and off the building site around Spanien 19C. Brownfield Wonderland, 2022
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
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
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
"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
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
The project imagines a future where columns echoing ancient Greek wooden architecture lose their weight or melt, where gravity is suspended for a moment while art institutions deform and dance in the wind before the air goes out of them. Melting State, 2020
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021
The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
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
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 work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
The images are unstable and shifting, conjuring a welfare system built on an uneasy combination of nature and technology that is neither utopian nor dystopian but simply strange and somehow plausible. Leddyrsomsorg / Arthropod Care, 2026
Project part of Oxer's programming on maritime exhibition platform Svartlöga. Ebeltoft After The Flood, 2021
We are collectively searching for new grammars of public discourse. Watershed, 2025
The event included a Collective Art Talk on Sunday at 13:00 CET in collaboration with Outside Collective. According to the Nose, 2021
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
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019