Kristoffer Ørum

Kristoffer Ørum

An archive with gaps in it, kept by the person who made the gaps.

A programmer who picks the wrong algorithm on purpose.

A documentary practice. Every work here has an address and a date.

Nothing digital about it. A screen is an object, and objects sit in rooms.

An artist who makes things up about real places.

Works with animals that have not agreed to it.

These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019

Monuments of a Fictional Past (Kraków Edition) is a speculative archive of ephemeral monuments that emerge, dissolve, and resurface across Kraków’s historical and imagined timelines. Monuments of a Fictional Past (Kraków Edition), 2025

Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025

Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024

Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008

Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011

They are the most revealing parts of the process. Speaker 1, 2026

The exhibition was part of a series of events organised by Kunsthal for Maritim Æstetik, which also included publications, debates, food events, and bus tours. Djurs Øhav, 2020

A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020

Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025

The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021

Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025

The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025

With modified lawnmowers, they cut public lawns and compressed the grass to extract chlorophyll, the “magic potion” that enabled them to carry out new missions. Game Continent, 2010

"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

The work proposes a less apocalyptic demise where representative buildings don't explode and crash into computer-generated rubble, but instead lose their weight, melt, or are covered with colourful hair. Melting State, 2020

All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025

The project questioned human privilege by highlighting the sophisticated communication systems of non-human species that operate beyond human perception. Signal_Crayfish, 2021

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

Hverdagens Helte (Everyday Heroes) consists of a series of interactive sculptures created in collaboration with Vitar Horsens Rollespilslaug (role-playing association). Everyday Heroes, 2019

The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022

The book presents ten different pattern scenarios, ranging from animal vision and camouflage to government propaganda through patterned textiles. Once We All Walk through Solid Objects, 2007

As a result, it is now defunct and can no longer be accessed in its original form. Topographies of the Insignificant, 2010

The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019

The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026

Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024

Being your own record-keeper means accepting these gaps and changes.

Television screens were also installed, showing interviews that had been produced through workshop-based role play. Invisible Objects, 2016

The contrast is not presented as a solution but as a tool of critique—making the invisible conventions of ordinary web interfaces visible by inverting them. Watershed, 2025

First released in an edition of 10 and sold through the Specta Surplus Store at Galleri Specta, Copenhagen in February 2018. Wireless Walnut, 2018

Works included "When nature looks back at you" (3D print, 2021), "Pearl House" (mixed media, 2020), "Habitation Oyster from Kolidsound" (3D print, 2020), and "WARNING FLOOR FLOODED DURING HIGH TIDE" (hydrographic print on cornstarch, 2021). Ebeltoft After The Flood, 2021

These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022

Sometimes he has time to update it, sometimes he does not.

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

"Sucker Trick" is a collaboration between visual artist Kristoffer Ørum, magician Claus Mulbjerg, and architect Tomas Skovgaard. Sucker Trick, 2017

To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009

It employs a computational process to dismantle and reassemble the daily flow of news images into a navigable world built from their fragments. Watershed, 2025

In The Old Gate at Folkets Park, Malmö’s working-class history is reactivated through DIY sound system cultures. Even the City Dreams of Being Another, 2025

The project encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025

The work was documented in a video presentation and included in the festival’s program alongside other international and local artists working in experimental modes of storytelling and urban critique. A Subjective History of Gdańsk, 2011

Monuments of A Fictitious Past
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