Kristoffer Ørum
Twenty years out of art school, and back in it.
An artist who makes things up about real places.
The website keeps itself up to date. He does not.
A documentary practice. Every work here has an address and a date.
Not a joke.
Some of it only exists as a photograph now.
Her head was made of cardboard squares, and as she walked she produced sad and disturbing sounds audible to late-night strollers and joggers. The Ballehage Woman, 2009
Staged as a series of narrative “figures,” the project invents and documents civic architectures that never existed—but perhaps could have. Monuments of a Fictional Past (Kraków Edition), 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
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
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
The mud text is a site-specific text that has been made from the place where it has been written, even as it attempts to reimagine and remember this very place. Brownfield Wonderland, 2022
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
Day to Day Data highlights the poetic, speculative, and sometimes humorous dimensions of personal and domestic data. Day to Day Data, 2008
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
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
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025
Within the installation, a microclimate experiment is contained in a coffeemaker, adding subtle atmospheric variation to the space. In a Dark Room/a Storm in a Coffee Cup, 2004
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
In 2025, the project will travel to Krakow, Malmö, Boston, Vancouver, Lexington, and Aarhus. Hvidovre Makes Good Times Better, 2025
However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
The solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020
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
In the work, a series of news broadcasts are presented by a talking carrot. Search for Carrot ExtraTerrestrial Intelligence, 2006
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
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
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
Coffee Lake continues Ørum's ongoing investigation of the analog and digital spaces we navigate daily, both physically and mentally. Coffee Lake, 2019
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
The aesthetic of this space is deliberately glitchy and non-photorealistic. Watershed, 2025
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019
By working with models that reflect the biases and gaps of their training data, DIFFUSED STATES treats these systems not as definitive or universal but as provisional, adaptable, and open to reinterpretation. Diffused States (Lexington), 2025
"Where the wall weep sugar" was presented as part of the group exhibition "TID," organized by Kunstnersammenslutningen Jylland at KH7artspace in Aarhus. Where the walls weep sugar, 2025
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
At the neighbouring Museum Østjylland, speculative objects were integrated into the historical displays, including a model of an "oyster home" and interventions within exhibits about Grenå's local oyster history. Djurs Øhav, 2020
The talk is about not knowing whether it is a lecture or a performance, and about deciding not to settle the question. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021