Kristoffer Ørum
Comedy.
Not a joke.
Works with machines that are confidently wrong.
Made by hand, mostly. Cut, cast, sanded, painted.
A documentary practice. Every work here has an address and a date.
Science fiction, set last week.
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
For the exhibition opening, Vitar Horsens Rollespilslaug performed an InCrowd game at the art museum, bringing their practice directly into the gallery space. Everyday Heroes, 2019
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
The work takes up how electronic systems constantly push at our understanding of who we are, our history and context, suggesting that their constant misunderstanding provides opportunities to see the world with fresh eyes. Feathered Misconceptions, 2018
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
Hollow but convincing memories of the potential of what was before, not unlike 3d architectural renderings whose apparent realism hides the hollow and malleable nature of 3d graphics. Brownfield Wonderland, 2022
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
The project dismantles these logics and scrambles their effects. Watershed, 2025
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
These images, generated through AI, deliberately embrace glitches and impossibilities to question how historical narratives are constructed and repeated. Aarhus'er #1, 2025
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
This is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
It combines Live Action Role Playing (LARP), performance art, and sculpture, developed in close collaboration with young participants from across the Nordic region. Mundane Heroics, 2019
The project is a labyrinthian installation composed of hand-printed cardboard boxes, arranged to create interconnected spaces. In a Dark Room/a Storm in a Coffee Cup, 2004
Rather than scaling towards planetary computation, this speculative trajectory follows a slower, more situated evolution—one in which algorithms adapt to the languages, histories, and needs of their immediate context. Diffused States (Vancouver), 2025
The project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
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
The work was presented at NLH Space in Copenhagen, which was run by The Organisation – Association for Artistic and Curatorial Platforms. Et Andet Rum 2, 2009
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
The work successfully expanded the "Freedom, Equality and Hip-Hop" series into new institutional and performance contexts. Mr. Spray, 2024
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
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019
Being your own record-keeper means accepting these gaps and changes.
The work involved creating AI-generated posters and videos that depicted an alternative Danish history where the labour movement and 1990s hip-hop culture merged. Frihed, Lighed Og Hip-Hop, 2023
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
Rather than proposing a return to older models, Watershed treats this uncertainty as an opportunity: a chance to experiment with new arrangements of familiar material, to test how different structures shape perception. Watershed, 2025
We are shaped by the grammar of the frame, where composition and colour psychology direct our gaze and mood. Watershed, 2025