Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
Made by hand, mostly. Cut, cast, sanded, painted.
Most of it was built on other people's work.
Works with machines that are confidently wrong.
A record-keeper. The website is the work.
Mostly it is admin.
How might civic memory be shaped not by permanence and power, but by shared breath, transient gatherings, and structures built to dissolve? Monuments of a Fictional Past (Kraków Edition), 2025
It is an experiment in seeing, questioning not just what we see in the news, but how we are conditioned to see it. Watershed, 2025
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
Topographies of the Insignificant is a web-based project from 2010 presenting a series of micro-topological maps of ultra-local spaces in five European cities: Berlin, Bratislava, Luxembourg, Rome and Vienna. Topographies of the Insignificant, 2010
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
Coffee Lake continues Ørum's ongoing investigation of the analog and digital spaces we navigate daily, both physically and mentally. Coffee Lake, 2019
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
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
At Sophienholm it stands outdoors in the park, inside a stone grotto. Affluence without abundance, 2025
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
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
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
The performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019
The project also speaks to a transitional moment. Watershed, 2025
jerklædte Misforståelser (Feathered Misconceptions) is a fifteen-minute associative performance commissioned by Ny Carlsberg Fondet for their annual celebration of their founder on 28 February 2018. Feathered Misconceptions, 2018
Rather than proposing a return to older models, Watershed treats this uncertainty as an opportunity: a chance to experiment with new arrangements of familiar material, to test how different structures shape perception. Watershed, 2025
Affluence without abundance was a video installation featuring a giant 3D-printed oyster that presented a speculative future scenario where the earth is covered by an endless ocean and people live in giant oysters. Affluence without abundance, 2021
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
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
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
Through a visual language that draws on both scientific simulations and computer games, the flows of economy, knowledge and power are animated as dynamic systems. A Body Has Many Members, 2012
Each day, the system generated a new composite face from images found via Google’s lists of top search terms. Recognised Faces, 2014
Caught between constant computer-generated simulations of destruction and status quo institutions, it becomes difficult to imagine that the welfare state can be replaced by something different and better. Melting State, 2020
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021
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
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
The installation was produced specifically for Interdimensionale II at Gammelgaard (September 2020) using three 4K video players (Raspberry Pi 4), three IIYAMA B2888UHSU screens, and video rendering services from foxrenderfarm.com. Melting State, 2020
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
According to the Nose was a walking protocol that provided opportunities to consider what life would look like if you were a nose. According to the Nose, 2021
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
The launch (December 7, 2024) consisted of a performative city walk, a community meal, and a concert with Christian Høgh, organized with f.eks. and supported by multiple cultural partners. Aalborg Is The Future, 2024
The event included a Collective Art Talk on Sunday at 13:00 CET in collaboration with Outside Collective. According to the Nose, 2021
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024