Kristoffer Ørum
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A programmer who picks the wrong algorithm on purpose.
Science fiction, set last week.
The website keeps itself up to date. He does not.
Made by hand, mostly. Cut, cast, sanded, painted.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
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
The city of Aarhus serves as both source and subject, remixed through the lens of local imagination and global street culture. Aarhus'er #1, 2025
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
Just as hip-hop DJs once transformed the turntable from a playback device into a creative instrument, this project reimagines Hvidovre’s history as speculative fiction. Hvidovre Makes Good Times Better, 2025
By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019
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
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
At the hospital, Untitled — five photographs and an orange chalk drawing in aluminium frames along the corridor, from the perspective of somebody waiting. Leddyrsomsorg / Arthropod Care, 2026
Using computer vision software, a rapping face appears on the plum, following its movements as the lecturer holds it in front of the webcam. Feathered Misconceptions, 2018
The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020
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
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 aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
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
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
Shown with Colette Fu, Diagonal Press / Tauba Auerbach, Kate Conlon, Myungah Hyon, Neta Bomani, Noam Youngrak Son, Sonnenzimmer / Nick Butcher, Nadine Nakanishi, Rujuta Rao, Stephanie Simek and THUNGRY / bex ya yolk. Signal_Crayfish, 2026
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
Soap Particles (2005) is a 3D animation work exhibited in two venues: as part of a solo show at Q, Copenhagen (20–29 May 2005) and in the group exhibition Critical Mass at Skulpturens Hus, Stockholm (3 May 2005). Soap Particles, 2005
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
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 process consistently produced a balance between the familiar and the strange. Mundane Heroics, 2019
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022
This invisibility operates on several levels. Watershed, 2025
Facial features in the collected images were identified using Stasm, an open-source software package for facial recognition originally developed for biometric applications. Recognised Faces, 2014
The book presents ten different pattern scenarios, ranging from animal vision and camouflage to government propaganda through patterned textiles. Once We All Walk through Solid Objects, 2007
The work was presented at NLH Space in Copenhagen, which was run by The Organisation – Association for Artistic and Curatorial Platforms. Et Andet Rum 2, 2009
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
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 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 work was installed in the lobby of the National Danish Broadcaster (DR) as part of Glowing Climate, organized by Illumenarts in 2009. The Wave, 2009
The project reflected on the transformation of the district: once a mixed working-class and industrial area, now rapidly becoming an upscale residential neighbourhood. City Planning, 2010
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 2025
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The plate facing it is green and reads "I cheer as the pink-green crayfish team score a goal", over a passage about crayfish sending messages to each other across the same wireless networks that carry a live football game. Signal_Crayfish, 2026
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
Signal_Crayfish was exhibited at Center for Book Arts from April to June 2021 as part of "Interspecies Futures ," curated by Oscar Salguero. Signal_Crayfish, 2021
This is a subjective and living archive - it grows and shifts as time passes and the world changes.