Kristoffer Ørum
Not research. The works were made first and explained afterwards.
Not a joke.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Local. Copenhagen and Aarhus, mostly.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Research. Somebody is going to have to examine it.
Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025
Transparent mobiles with polarisation filters cause the overlapping projections to shift constantly, creating a spatial interpretation of a hybrid and unstable identity. AutoBiography, 2011
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
Exhibition hours: Wednesday, Thursday, Friday 17:00-20:00 and Saturday, Sunday 12:00-17:00. Ebeltoft After The Flood, 2021
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 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
The exhibition dealt with invisible communication systems including Wi-Fi networks, radio communications, and chemical signals that operate undetected around us. Signal_Crayfish, 2020
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
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
Each monument is situated in a specific district or moment in Kraków’s layered history, blending archival poetics with infrastructural speculation. Monuments of a Fictional Past (Kraków Edition), 2025
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005
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
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
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
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
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
Day to Day Data looks at how digital information is embedded in everyday life. Day to Day Data, 2008
Some appear edible, some pneumatic, some built from sound or breath. Monuments of a Fictional Past (Kraków Edition), 2025
The augmented reality component allowed viewers to see additional digital layers through their smartphone cameras, revealing hidden "monsters" that existed only in the augmented space. Mundane Monsters, 2022
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
Stasm detects the position of 77 facial landmarks on upright, front-facing human faces with neutral expressions. Recognised Faces, 2014
On the screen of a phone or tablet, one can arrange a combination of scaffolding, 3d scans from the site and architectural fragments into an unstable and intangible building mass. Brownfield Wonderland, 2022
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
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
The project began the process of using advanced imaging technology and AI as fabulation techniques to create speculative scenarios where the labour movement and hip-hop culture intersected. Tank Hip-Hop, 2022
Figures gather for shared meals, sweep longhouse floors, inscribe runes like graffiti, perform stylised rituals, or take part in dance battles and DJ sets using flat stones. The Good, the Lost, and the Beautiful, 2025
The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
As one deciphers mud from the ground that has been smeared onto the wall in the shape of geometric letterforms, dust from the building site made up of particles that were once buildings enters one's lungs. Brownfield Wonderland, 2022
Listening Without Ears consists of 3D printed copies of everyday objects that transcribe what is said in the exhibition space and print it out. Listening Without Ears, 2019
Instead of showing only what is lost when a human is translated into data, these moments offer a new perspective. Speaker 1, 2026
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025
Its on-screen lyrics tell the factual story of a 507-year-old clam killed during the scientific process of determining its age. Djurs Øhav, 2020