Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
An archive with gaps in it, kept by the person who made the gaps.
Digital art.
Works with animals that have not agreed to it.
Works with machines that are confidently wrong.
A programmer who picks the wrong algorithm on purpose.
This video asks a question that sits at the heart of our digital lives: how do we appear to a machine? Speaker 1, 2026
Each figure is both a memory and a proposition—an echo of what might have been, and a sketch of what still could be. Monuments of a Fictional Past (Kraków Edition), 2025
An urban planning term for any previously developed land that is not currently in use. Brownfield Wonderland, 2022
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
Coffee Lake is a video installation combining computer-generated video with animated text, created for the group exhibition "Machine sans nom" at Bonamatic. Coffee Lake, 2019
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
The work asks how we can imagine a future after the welfare state, now that it seems to be definitively being dismantled. Melting State, 2020
The project was based on historical facts and scientific data. Djurs Øhav, 2020
The work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
The postcards extend this blending of eras, presenting scenes where identity, memory, and cultural imagination converge and transform. The Good, the Lost, and the Beautiful, 2025
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
Ander Bojen & Kristoffer Ørum’s contribution combined personal narrative, historical research, and speculative urban theory to question how collective experience and perception shape the city. A Subjective History of Gdańsk, 2011
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
None are permanent, but all leave residues—sonic, material, or narrative. Monuments of a Fictional Past (Kraków Edition), 2025
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
I also do it because I, as a white, established, middle-aged male artist, embody many of the privileges and blind spots that shape both the world and the art world. None of These Images Are of Me, 2025
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
In the work, a series of news broadcasts are presented by a talking carrot. Search for Carrot ExtraTerrestrial Intelligence, 2006
This invisibility operates on several levels. Watershed, 2025
The work takes up how repeated exposure to images of buildings sinking into rubble with glass shards and dust spreading symmetrically creates expectations that the physical world behaves the same way. Melting State, 2020
Until redevelopment started a few years ago, the area had somehow managed to escaped both commercial and municipal interest. Brownfield Wonderland, 2022
The work documents their attempts to deconstruct a person into data: to apply a label, assign a tracking ID, map the body's motion onto a skeletal grid, and strip a voice down to plain text. Speaker 1, 2026
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then travelled to Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
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 installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009
I had taught at an art school for years and had taken to dressing up and interfering with the presentation software, introducing invented theory and fictitious examples, to make the conventions of teaching less certain. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The sculpture is a giant oyster from a setting where the earth is covered by an endless ocean and people have moved into the oysters, which give them shelter, air, warmth and food. Affluence without abundance, 2025