Kristoffer Ørum
This text is generated. He decided what it generates from.
Collaborative. Most of it was made with other people.
Research. Somebody is going to have to examine it.
Works with animals that have not agreed to it.
Local. Copenhagen and Aarhus, mostly.
Made by hand, mostly. Cut, cast, sanded, painted.
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
The audience received a hand-out titled The Pattern in Us All: Exposing the Substructures of the World attributed to Kristian Husted. The Pattern In Us All, 2007
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
The work was documented through performance protocols and connected to broader research into facial recognition, identity, and technological surveillance through embodied experience in public space. According to the Nose, 2021
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
The work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
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 exhibition featured works from 26 artists, including paintings, sculptures, photos, and video pieces The exhibition's core concept was uniquely time-based and site-specific. Where the walls weep sugar, 2025
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
Together, the elements formed a series of overlapping linguistic and visual displacements. Putin's Nose, 2019
The work examines the autobiography as a cultural phenomenon and the staging of artistic identity, setting up a tension between the impersonal logic of systems and the personal search for self. AutoBiography, 2011
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
The festival invited artists to work across the boundaries between history, urban space, and perception, creating site-specific works and lectures that engaged with the city’s social and architectural context. A Subjective History of Gdańsk, 2011
First released in an edition of 10 and sold through the Specta Surplus Store at Galleri Specta, Copenhagen in February 2018. Wireless Walnut, 2018
The work takes up how repeated exposure to images of buildings sinking into rubble with glass shards and dust spreading symmetrically creates expectations that the physical world behaves the same way. Melting State, 2020
The title reflects several forms of diffusion: the algorithmic process of generating images; the grassroots spread of ideas and tools; and the physical scattering of devices across different environments. Diffused States (Lexington), 2025
What you see here is just what felt important to document at the time.
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
Recognized for its experimental approach, Data Kroppe is cataloged in the Danish public digital archive Vores Kunst, which preserves commissioned television art. Data Kroppe, 2017
It considers what AI might look like if it evolved through neighbourhood initiatives, recycled consumer hardware, and community-specific datasets, moving at the pace of shared maintenance rather than commercial urgency. Diffused States (Lexington), 2025
The virtual creature could be experienced through mobile phones and tablets using augmented reality technology. The Kolding Creature, 2021
This breaks with the idea of a coherent and authentic artistic subject—an illusion that the art market is still deeply dependent on. None of These Images Are of Me, 2025
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
The machine's interpretation is not just a poor copy of reality; it creates a new representation with its own logic and uncanny aesthetic. Speaker 1, 2026
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
The Good, the Lost, and the Beautiful is a reconstruction of the Lee-stone, one of nine runestones believed to have been lost in the Copenhagen Fire of 1728. The Good, the Lost, and the Beautiful, 2025
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
Watershed is an online art project about the algorithmic gaze in an era of digital news. Watershed, 2025
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
These objects continuously monitored conversations in the gallery space, converting spoken words into text through automated transcription systems, then physically printing the transcribed text. Listening Without Ears, 2019
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
Leddyrsomsorg / Arthropod Care is a twenty-minute video, one of nine works Ørum showed in FORSTADIER / Precursors — a duo exhibition with Aske Thiberg, curated by Morten K Jacobsen and Heidi Hove. Leddyrsomsorg / Arthropod Care, 2026
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
Frihed, Lighed og Hip-Hop used advanced imaging technology (artificial intelligence) to tell the story of a fictional relationship between the labour movement and hip-hop culture. Frihed, Lighed Og Hip-Hop, 2023
We are steered by algorithms that curate which images reach us. Watershed, 2025