Kristoffer Ørum
Twenty years out of art school, and back in it.
Not research. The works were made first and explained afterwards.
Made by hand, mostly. Cut, cast, sanded, painted.
A teacher who keeps a studio in order to have something to teach from.
Research. Somebody is going to have to examine it.
Most of it was built on other people's work.
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
Like collage, the work is not about arriving at a definitive meaning but about generating provisional configurations that open new ways of seeing. Watershed, 2025
The virtual creature remained accessible in the Borchs Gård area until 1 March 2022, allowing ongoing public engagement with the augmented reality artwork. The Kolding Creature, 2021
As tension builds, the man gradually dissolves into the screen, becoming one with the flickering patterns. Once We All Walk through Solid Objects, 2007
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
The work has been presented in lectures at universities, on AI, welfare mythologies and hope through the creative misuse of digital infrastructure. Frihed, Lighed Og Hip-Hop, 2023
The screens displayed a new page every few minutes, allowing both visitors to the medieval church and local citizens passing through the square to encounter the rewritten history. Roskilde Parahistory, 2009
By establishing rules and constraints—writing without interruption, juxtaposing unrelated images—the Surrealists sought to bypass rational control and provoke unexpected associations. Watershed, 2025
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
The project questions the assumption that it is "easier to imagine the end of the world than the end of the welfare state" (paraphrasing Slavoj Žižek). Melting State, 2020
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
The exhibition continued this approach, combining speculation with a documentary style to produce objects that felt like remnants of possible futures. The End of the Universe as We Know It?, 2007
A ghostly city that is no less real than the cities summoned forth in digital renderings by architects and planners to convince us of the future they are proposing. Brownfield Wonderland, 2022
I miss images that are weird, flawed, or personal. None of These Images Are of Me, 2025
We are steered by algorithms that curate which images reach us. Watershed, 2025
Each figure is both a memory and a proposition—an echo of what might have been, and a sketch of what still could be. Monuments of a Fictional Past (Kraków Edition), 2025
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
The exhibition featured video projections, 3D-printed sculptures, wireless transmissions, two-dimensional works, and an augmented reality component that allowed visitors to view "monsters" inhabiting the gallery through their phone cameras. Mundane Monsters, 2022
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
The Ballehage Woman was created by Anders Bojen and Kristoffer Ørum for the outdoor sculpture exhibition Sculpture by the Sea, organised by AROS Museum in Aarhus in 2009. The Ballehage Woman, 2009
The event included a Collective Art Talk on Sunday at 13:00 CET in collaboration with Outside Collective. According to the Nose, 2021
Signal_Crayfish takes the invasive signal crayfish, which displaces native Danish freshwater species and communicates chemically across distance, and sets it beside human communication technology. Would You Like to Know More, 2017
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
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
By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010
Diffused States was presented as part of *Data Fluencies: Tributaries*, curated by Roopa Vasudevan, which brought together artists working on the ways data can be resisted, rerouted, or reimagined outside dominant narratives. Diffused States (Vancouver), 2025
The opening included a performance component set in an alternative past, presenting counterfactual work that narrated fictional relationships between political movements and cultural expression. Mr. Spray, 2024
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
Or the years when rap lyrics were about helping at home and taking good care of elderly citizens? Frihed, Lighed Og Hip-Hop, 2023
The Wave made by Anders Bojen & Kristoffer Ørum is a computer-animated video installation depicting a stormy sea with the tower of Copenhagen City Hall in the background. The Wave, 2009
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
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
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
Day to Day Data looks at how digital information is embedded in everyday life. Day to Day Data, 2008
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012
Retired factory workers repurpose their technical knowledge to build speakers and maintain audio infrastructure, passing skills across generations. Even the City Dreams of Being Another, 2025
The exhibition borrows its title from 1960, when the Social Democratic Party campaigned under the slogan “Make Good Times Better”. Hvidovre Makes Good Times Better, 2025