Kristoffer Ørum
Digital art.
A record-keeper. The website is the work.
A lot of it is waiting for a render to finish.
Not research. The works were made first and explained afterwards.
The website keeps itself up to date. He does not.
An artist who makes things up about real places.
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
In art and activism, humour has repeatedly functioned as a way of exposing the absurdity of power—from Dadaist performances to contemporary meme cultures. None of These Images Are of Me, 2025
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
The project operated on several levels with "lines of flight" into the city, online, and in local media. According to the Nose, 2021
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
The Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
The project encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025
Aarhus'er #1 is the most expansive chapter in Kristoffer Ørum's ongoing counterfactual project "Frihed, lighed og hip-hop" (Freedom, Equality and Hip-Hop), created in collaboration with rapper Emilio Hestepis. Aarhus'er #1, 2025
Disparate subjects such as English Vorticism, brainwaves, animal perception, and doomsday scenarios were connected in an increasingly ambitious thesis. The Pattern In Us All, 2007
We are collectively searching for new grammars of public discourse. Watershed, 2025
*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012
The project constructed a local myth about a deformed outcast living in a park frequented by wealthy residents. The Ballehage Woman, 2009
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 project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
The work referenced Gustave Courbet's 1866 painting "L'Origine du monde", which was kept hidden behind a curtain for over a century. Sucker Trick, 2017
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
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
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
A sink was reconstructed containing pasta, while spaghetti was modelled from FIMO clay. Invisible Objects, 2016
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
The project was based on historical facts and scientific data. Djurs Øhav, 2020
The video can be described as a combination of Half-Life 2, Hitchcock's *Vertigo*, and Bridget Riley, rendered in a computer-game-like animation of a man watching a screen. Once We All Walk through Solid Objects, 2007
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 installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017
Two folders, with texts by medical historian Adam Bencard and by Kristoffer Ørum, printed inkjet and held in 3D-printed R-PETG holders in both buildings. Leddyrsomsorg / Arthropod Care, 2026
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
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
The project draws on the history of low-resource and locally maintained computing, from community-run bulletin board systems to peer-to-peer networks sustained by recycled hardware. Diffused States (Vancouver), 2025
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 project was presented as part of the group exhibition Coming From at Overgaden Institute of Contemporary Art in Copenhagen. Auto Navigate My History, 2014
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
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
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
These unsolicited “press releases” became part of the ongoing re-imagining of Amager by local government, private enterprise, and other forces. City Planning, 2010