Kristoffer Ørum
An archive with gaps in it, kept by the person who made the gaps.
Research. Somebody is going to have to examine it.
Mostly it is admin.
The website keeps itself up to date. He does not.
Twenty years out of art school, and back in it.
A teacher who keeps a studio in order to have something to teach from.
In the post-totalitarian context of Latvia, where memory is often manipulated for political purposes, the work offers a reminder that the past is not fixed and demonstrates the fluidity of historical narratives. Monuments of A Fictitious Past, 2024
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
Participants borrowed nose-shaped masks equipped with audio guides from Lokale, taking them on walks through the Nørrebro area around Griffenfeldsgade 27. According to the Nose, 2021
By reinserting them into the same online environments where facial recognition is used for surveillance, marketing and classification, the project subtly disrupted how automated systems construct a digital identity. Recognised Faces, 2014
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
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 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
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
Jensen; Ida Marie Hede Bertelsen; Peter Rasmussen; Kasper Hesselbjerg; David Rex; Ulrik Nørgaard; Daphne Bidstrup; Andreas Pallisgaard; and Kristin Haarløv. Radiant Copenhagen, 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
About this website This is one of many possible records of Kristoffer Ørum's work, but it's never going to be complete.
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
The exhibition was curated by museum inspector Pernille Rom Bruun and featured partnerships between artists and associations including nature conservation, bird watching, boxing, gliding, gymnastics, and rabbit breeding groups. Everyday Heroes, 2019
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
Strange audio players and distorted timelines hint at other ways things could have turned out, with hip-hop positioned not as a fixed genre or imported form, but as a set of evolving principles. Aarhus'er #1, 2025
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
In the video, Ørum reflects on the human body as data by visually overlaying biometric patterns, abstracted motion, and rhythmic shifts of light and texture. Data Kroppe, 2017
The project draws inspiration from the largely forgotten history of ternary computing—an alternative to binary systems that operates on three states: true, false, and unknown. Diffused States (Boston), 2025
Data Kroppe is a video artwork by Kristoffer Ørum, commissioned and broadcast by Danish national television (DR) and featured on DR Kulturklubben. Data Kroppe, 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
With modified lawnmowers, they cut public lawns and compressed the grass to extract chlorophyll, the “magic potion” that enabled them to carry out new missions. Game Continent, 2010
The project treats everyday objects and routines as sites of discovery and narrative potential, turning personal and mundane experience into shared, speculative material. Day to Day Data, 2008
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025