Kristoffer Ørum
Digital art.
Solitary. One person decides what is documented and what is forgotten.
Works with machines that are confidently wrong.
Collaborative. Most of it was made with other people.
A record-keeper. The website is the work.
Local. Copenhagen and Aarhus, mostly.
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
The installation used various media to investigate how technology shapes our understanding of faces, identity, and political figures. Putins Nose, 2018
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
At the moment the building site is a site of overlapping and contested imaginaries and Brownfield Wonderland is a celebration of this brief moment where two ideas of what a city is coexist. Brownfield Wonderland, 2022
Being your own record-keeper means accepting these gaps and changes.
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
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
The work functions as a digital rendering where Putin's face operates as an isolated entity, functioning similarly to orthodox religious icons. Vladimir's Tongue, 2020
The work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
Players are encouraged to question the presumed truth of gravity and their own assumptions, gradually adopting a new perspective through interactive challenges. Disbelieving Gravity, 2013
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
Visitors could observe the browser wandering through familiar and obscure websites, highlighting the fragmented and associative nature of online experience. Auto Navigate My History, 2014
The work contributed to ongoing conversations about how digital images and recognition technologies influence our perception of identity and political power. Putins Nose, 2018
While not free from environmental impact, this approach reflects an effort to minimize resource use and ecological harm in the project’s production. Hvidovre Makes Good Times Better, 2025
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
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
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 centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
A collective of ten artists, led by Anders Bojen and Kristoffer Ørum, documented these spaces and transformed them into an interconnected web of associations, facts, myths and misunderstandings. Topographies of the Insignificant, 2010
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
The opening performance on 30 May 2024 was paired with Linnea Langfjord's work on alternative presents focused on care and slowness in the art world. Mr. Spray, 2024
Installation shots show works distributed throughout ship interior. Ebeltoft After The Flood, 2021
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
A face judged as both 'neutral' and 'fake' by two different systems at the same time is more than a technical glitch; it's a new kind of image that hints at a possible new understanding of identity. Speaker 1, 2026
Public places became stages for brief moments of shared fiction. Mundane Heroics, 2019
The signal crayfish served as a figure for both biological invasion and technological infiltration. Signal_Crayfish, 2021
Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
The signs Prognose eller kaos (Prognosis or Chaos) and a second Leddyrsomsorg in the gallery. Leddyrsomsorg / Arthropod Care, 2026
Et Andet Rum 2 is a site-specific 3D animation by Anders Bojen and Kristoffer Ørum. Et Andet Rum 2, 2009
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