Kristoffer Ørum
The website keeps itself up to date. He does not.
Made by hand, mostly. Cut, cast, sanded, painted.
A portraitist. None of the portraits are of him.
A record-keeper. The website is the work.
An artist who makes things up about real places.
Solitary. One person decides what is documented and what is forgotten.
The Pattern In Us All (2007) was a lecture performance created by Anders Bojen & Kristoffer Ørum at the University of Copenhagen. The Pattern In Us All, 2007
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
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 is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
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
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
The work successfully expanded the "Freedom, Equality and Hip-Hop" series into new institutional and performance contexts. Mr. Spray, 2024
Disbelieving Gravity is an interactive online game created for the Net.Specific exhibition Communication Paths. Disbelieving Gravity, 2013
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019
The work combines AI-generated imagery with human-written captions, forming a dispersed narrative around how such systems might emerge—from grassroots tinkering to collectively governed infrastructures and hyper-local training data. Diffused States (Vancouver), 2025
The project builds on Ørum's ongoing work "Freedom, Liberty, and Hip-Hop," which envisions alternative Danish histories. Monuments of A Fictitious Past, 2024
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 2025
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
At the hospital: Gør din pligt og kræv din udredning (Do Your Duty and Demand Your Assessment) and Diagnose gør stærk (Diagnosis Makes You Strong) in the corridor, Frihed, lighed & symptom (Liberty, Equality & Symptom) in the waiting room. Leddyrsomsorg / Arthropod Care, 2026
The work mixed factual information about signal crayfish with invented characteristics, including claims that the species can grow to 1.8 metres and possess wireless communication abilities. Signal_Crayfish, 2020
Putin's Nose began with an everyday moment: looking into a shopping bag full of groceries and noticing a beetroot that, for a moment, looked like the artist's Russian grandmother's nose. Putin's Nose, 2019
The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
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
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
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 exhibition posed a paradox about how we can become accustomed to living in a constantly changing world with technological trends that supplement, expand and reinforce reality with extra layers of information. Mundane Monsters, 2023
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
It presented a dystopian scenario where computer-generated body fragments and singing microwave ovens suggested a post-human future. The End of the Universe as We Know It?, 2007
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
The role-players — dressed as green warriors and magicians — relied on grass as their main resource. Game Continent, 2010
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
On the contrary, humour often arises in breaks with the expected, in encounters with the unknown, bringing fear and laughter close together. None of These Images Are of Me, 2025
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
In Helsinki, at the ANTI Contemporary Art Festival the project unfolded in the streets and open squares of the city centre. Mundane Heroics, 2019
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
The piece was first aired on November 7, 2017, as part of a series on innovative expressions in public media. Data Kroppe, 2017
A central relief on the reconstructed stone, possibly once a hammer, is reimagined here as a spray can, folding historical reference into playful anachronism. The Good, the Lost, and the Beautiful, 2025