Kristoffer Ørum

Kristoffer Ørum

A lot of it is waiting for a render to finish.

Mostly it is admin.

Science fiction, set last week.

A teacher who keeps a studio in order to have something to teach from.

This text is generated. He decided what it generates from.

Made by hand, mostly. Cut, cast, sanded, painted.

Each piece suggested both familiarity and a shift in function, as common domestic items appeared in new materials, configurations, and with networked capabilities. Invisible Objects, 2016

When I use myself as material, my body and my image become a site for institutional self-critique—where paradoxically critique and complicity overlap. None of These Images Are of Me, 2025

The exhibition contributed to ongoing discussions about AI, storytelling, and alternative histories. Mr. Spray, 2024

The exhibition gathers artists' books from the handmade to the high-tech, including 3D-printed structures and works that leave the codex behind. Signal_Crayfish, 2026

The show took place from 2017-08-18 to 2017-12-09, inspired by Herman Melville’s *Bartleby, the Scrivener* and its quiet refusal: “I would prefer not to.” Blind Listening, 2017

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

I am also tired of a “call-out” culture that too easily becomes hostile and makes it difficult to build the broad alliances we need. None of These Images Are of Me, 2025

Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010

"Monuments of a Fictional Past" is a project that imagines a past where Soviet edifices dotting the Latvian landscape have been replaced with AI-generated counterparts. Monuments of A Fictitious Past, 2024

The work documents their attempts to deconstruct a person into data: to apply a label, assign a tracking ID, map the body's motion onto a skeletal grid, and strip a voice down to plain text. Speaker 1, 2026

Each figure is both a memory and a proposition—an echo of what might have been, and a sketch of what still could be. Monuments of a Fictional Past (Kraków Edition), 2025

A ghostly city that is no less real than the cities summoned forth in digital renderings by architects and planners to convince us of the future they are proposing. Brownfield Wonderland, 2022

Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021

In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025

By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014

Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019

It ran across two buildings in Ringsted: the artist-run Ringsted Galleriet on Bøllingsvej 15, and the blood-sampling department of Midt- og Vestsjællands Hospital on Bøllingsvej 30. Leddyrsomsorg / Arthropod Care, 2026

The show aimed to make the realm of coded instructions, programming languages, software protocols, electrical signals and logical operations available to aesthetic experience. Listening Without Ears, 2019

Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017

On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009

The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019

The postcards extend this blending of eras, presenting scenes where identity, memory, and cultural imagination converge and transform. The Good, the Lost, and the Beautiful, 2025

The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005

The centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025

The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013

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

Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 2019

The work was exhibited at ARoS Public's communication centre on the third floor from May to July 2021, alongside works by Danish and international artists including Lawrence Lek, Morehshin Allahyari, Stephanie Dinkins, and others. Signal_Crayfish, 2021

The same work was shown at Keramoda, Lønstrup, in 2021. Affluence without abundance, 2025

The work was exhibited at Vejle Kunstmuseum from March to August 2020, then at Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020

Additional elements included a video installation where visitors had Putin's face projected over them, making them momentarily become Putin speaking about Russian male superiority and Western decadence. Putin's Nose, 2019

The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021

Malmö New City Hall presents a playful, speculative bureaucracy infused with hip-hop culture, where city planning unfolds through rap battles, breakdancing, and public meetings turned into performative spaces of collective decision-making. Even the City Dreams of Being Another, 2025

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

Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014

It presents language as both infrastructure and interference, existing in plain sight yet obscured within the everyday signals that surround us. Wireless Walnut, 2018

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

Admitting this is not, in Andrea Fraser’s spirit, a defeat, but a strategy: I would rather acknowledge my own narcissism and greed and use them as material, than pretend I stand outside. None of These Images Are of Me, 2025

The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021

Like Haraway, I believe the only honest critique must come from a situated place—knowledge that is always embodied, compromised, and grounded in specific contexts. None of These Images Are of Me, 2025

Recognised Faces
Recognised Faces See the work →