Kristoffer Ørum
The website keeps itself up to date. He does not.
The machines are collaborators and cannot be credited.
A lot of it is waiting for a render to finish.
Collaborative. Most of it was made with other people.
Science fiction, set last week.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
In the machine's failure to see me correctly, and in the unexpected beauty of its attempt, I was given a chance to see myself in new ways. Speaker 1, 2026
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
It takes the current development of the site of the art space as its point of departure, arguing for the often-overlooked qualities and potential of brownfield sites like it. Brownfield Wonderland, 2022
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
The project invited citizens to have their pets gently scanned to contribute to a composite digital monster that would inhabit the area around Borchs Gård in Kolding city centre. The Kolding Creature, 2021
As a result, it is now defunct and can no longer be accessed in its original form. Topographies of the Insignificant, 2010
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
The photo album was discovered among the salvaged items when the ship was recovered. Depth Estimation, 2019
Participants borrowed nose-shaped masks equipped with audio guides from Lokale, taking them on walks through the Nørrebro area around Griffenfeldsgade 27. According to the Nose, 2021
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
Some pieces he remembers to add, others he forgets.
This video asks a question that sits at the heart of our digital lives: how do we appear to a machine? Speaker 1, 2026
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
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
Visitors encountered these figures both inside the museum and in everyday spaces, such as the local supermarket, where baguettes from the freezer section served as swords. Game Continent, 2010
First released in an edition of 10 and sold through the Specta Surplus Store at Galleri Specta, Copenhagen in February 2018. Wireless Walnut, 2018
"Sucker Trick" is a collaboration between visual artist Kristoffer Ørum, magician Claus Mulbjerg, and architect Tomas Skovgaard. Sucker Trick, 2017
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
The wireless transmissions and video projections created an atmosphere where technology and nature intersected in unexpected ways. Mundane Monsters, 2022
Today, images are filtered, analysed, and manipulated by systems we rarely notice or understand. Watershed, 2025
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
They contribute to a narrowing of bodily representations that is far more damaging in the long run than strange AI slippage. None of These Images Are of Me, 2025
The installation is accompanied by a series of AI-generated postcards that reimagine Viking life in the style of idealised holiday imagery. The Good, the Lost, and the Beautiful, 2025
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
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
Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025
A central relief on the reconstructed stone, possibly once a hammer, is reimagined here as a spray can, folding historical reference into playful anachronism. The Good, the Lost, and the Beautiful, 2025