Kristoffer Ørum
Made by hand, mostly. Cut, cast, sanded, painted.
Twenty years out of art school, and back in it.
An artist who makes things up about real places.
Science fiction, set last week.
Research. Somebody is going to have to examine it.
A documentary practice. Every work here has an address and a date.
The project imagines a future where columns echoing ancient Greek wooden architecture lose their weight or melt, where gravity is suspended for a moment while art institutions deform and dance in the wind before the air goes out of them. Melting State, 2020
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
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
The augmented reality component allowed viewers to see additional digital layers through their smartphone cameras, revealing hidden "monsters" that existed only in the augmented space. Mundane Monsters, 2022
Blind Listening was presented as part of *I would prefer not to*, an exhibition at Meter (Copenhagen) on the potential of the non-productive, the meaningless, and the functional. Blind Listening, 2017
The game turns on how the concept of gravity is embedded in language, metaphors, and everyday actions. Disbelieving Gravity, 2013
The work departed from the exhibition space but moved as performative action into urban space, with an online component extending the offline event. According to the Nose, 2021
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
It considers what AI might look like if it evolved through neighbourhood initiatives, recycled consumer hardware, and community-specific datasets, moving at the pace of shared maintenance rather than commercial urgency. Diffused States (Lexington), 2025
The work displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014
In Helsinki, at the ANTI Contemporary Art Festival the project unfolded in the streets and open squares of the city centre. Mundane Heroics, 2019
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
The project was mentioned in reviews for its role in public debates on landscape restoration and climate adaptation. Djurs Øhav, 2020
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
The work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 2021
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 festival invited artists to work across the boundaries between history, urban space, and perception, creating site-specific works and lectures that engaged with the city’s social and architectural context. A Subjective History of Gdańsk, 2011
I am also tired of so-called critical art being presented through the same visual culture as fashion: the artist in their beautiful home, in front of their impressive bookshelf, or in their picturesque studio. None of These Images Are of Me, 2025
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
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
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
The Good, the Lost, and the Beautiful is a reconstruction of the Lee-stone, one of nine runestones believed to have been lost in the Copenhagen Fire of 1728. The Good, the Lost, and the Beautiful, 2025
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
Two folders, with texts by medical historian Adam Bencard and by Kristoffer Ørum, printed inkjet and held in 3D-printed R-PETG holders in both buildings. Leddyrsomsorg / Arthropod Care, 2026
Using computer vision software, a rapping face appears on the plum, following its movements as the lecturer holds it in front of the webcam. Feathered Misconceptions, 2018
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
The signs Prognose eller kaos (Prognosis or Chaos) and a second Leddyrsomsorg in the gallery. Leddyrsomsorg / Arthropod Care, 2026
How might civic memory be shaped not by permanence and power, but by shared breath, transient gatherings, and structures built to dissolve? Monuments of a Fictional Past (Kraków Edition), 2025
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
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
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