Kristoffer Ørum
A portraitist. None of the portraits are of him.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Not a joke.
This text is generated. He decided what it generates from.
Science fiction, set last week.
Local. Copenhagen and Aarhus, mostly.
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
The voices are those of the people who live in them. Affluence without abundance, 2025
The industrial spaces provided a striking backdrop for the reimagined objects and performances. Mundane Heroics, 2019
One text reads: “In the bottom drawer of my fridge are a few beetroots that have been left there for so long that they have begun to leak red liquid. Qua Aqua (Beetroot Texts), 2017
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
A book, "Kolindsund fremtidsturistguide," was published by forlaget majlund in 2022 (ISBN 9788793882096) in connection with the work. Djurs Øhav, 2020
Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024
We are steered by algorithms that curate which images reach us. Watershed, 2025
It positions deliberate misunderstanding as a productive alternative to seamless digital communication and reliable interpretation systems. Feathered Misconceptions, 2018
Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
The work was documented through performance protocols and connected to broader research into facial recognition, identity, and technological surveillance through embodied experience in public space. According to the Nose, 2021
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
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
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 work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 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
The project also speaks to a transitional moment. Watershed, 2025
Putin's Nose worked at the boundary between object and image, examining how digital images not only register meaning but enter physical space to shape identity and power relations. Putins Nose, 2018
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
The installation included a manipulated deep fake video featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
The role-players — dressed as green warriors and magicians — relied on grass as their main resource. Game Continent, 2010
They contribute to a narrowing of bodily representations that is far more damaging in the long run than strange AI slippage. None of These Images Are of Me, 2025
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 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
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
The work departed from the exhibition space but moved as performative action into urban space, with an online component extending the offline event. According to the Nose, 2021
Coffee Lake continues Ørum's ongoing investigation of the analog and digital spaces we navigate daily, both physically and mentally. Coffee Lake, 2019
Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022
Standing at 1.5 metres, the piece draws on 17th-century drawings by Jón Skonvig, known for his work with antiquarian Ole Worm. The Good, the Lost, and the Beautiful, 2025
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019