Kristoffer Ørum
A portraitist. None of the portraits are of him.
A documentary practice. Every work here has an address and a date.
An artist who makes things up about real places.
The machines are collaborators and cannot be credited.
Most of it was built on other people's work.
Twenty years out of art school, and back in it.
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
The site opens on the series title and a single line — "Would you like to know more?" — set in pale green with a cartoon crayfish at the edge of the frame. Would You Like to Know More, 2017
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
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
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
"Sucker Trick" is a collaboration between visual artist Kristoffer Ørum, magician Claus Mulbjerg, and architect Tomas Skovgaard. Sucker Trick, 2017
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
A computer transcribes the audio files it has captured and translates them into Danish, before uploading the text to Meter’s homepage. Blind Listening, 2017
This approach shares a lineage with experimental practices such as Surrealist automatic writing and collage. Watershed, 2025
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
These unsolicited “press releases” became part of the ongoing re-imagining of Amager by local government, private enterprise, and other forces. City Planning, 2010
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
Transparent mobiles with polarisation filters cause the overlapping projections to shift constantly, creating a spatial interpretation of a hybrid and unstable identity. AutoBiography, 2011
All masks were thoroughly cleaned and sprayed with disinfectant after each user, with lending against deposit such as a driver's license or telephone. According to the Nose, 2021
The project emphasizes local DIY spirit, encouraging citizens to reimagine Hvidovre’s past and future. Hvidovre Makes Good Times Better, 2025
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
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
Spray was presented as both an exhibition and performance at Friisland's Center for Performance Art during Art Matter festival. Mr. Spray, 2024
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
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
The familiar rhythm of news consumption—fast, frictionless, designed for scanning—is replaced by movement through a spatial terrain. Watershed, 2025
Bænkebider flok (Woodlouse Flock) on the floor. Leddyrsomsorg / Arthropod Care, 2026
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
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 resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
The End of the Universe as We Know It? was a solo exhibition by Anders Bojen & Kristoffer Ørum at Galerie Mikael Andersen in Copenhagen in 2007. The End of the Universe as We Know It?, 2007
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 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 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
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
An urban planning term for any previously developed land that is not currently in use. Brownfield Wonderland, 2022
At the same time, abstract projections of colour and computer-generated sound evolve according to the same underlying logic. AutoBiography, 2011
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
It is an experiment in seeing, questioning not just what we see in the news, but how we are conditioned to see it. Watershed, 2025