Kristoffer Ørum

Kristoffer Ørum

Science fiction, set last week.

Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.

The website keeps itself up to date. He does not.

Local. Copenhagen and Aarhus, mostly.

Solitary. One person decides what is documented and what is forgotten.

A portraitist. None of the portraits are of him.

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

The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025

One is pink and perforated, carrying a crown and, in mirror writing, "Find them, eat them & enjoy them" — the Danish Nature Agency's advice on the invasive signal crayfish. Signal_Crayfish, 2026

Topographies of the Insignificant is a web-based project from 2010 presenting a series of micro-topological maps of ultra-local spaces in five European cities: Berlin, Bratislava, Luxembourg, Rome and Vienna. Topographies of the Insignificant, 2010

Standing at 1.5 metres, the piece draws on 17th-century drawings by Jón Skonvig, known for his work with antiquarian Ole Worm. The Good, the Lost, and the Beautiful, 2025

The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021

AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025

Stasm detects the position of 77 facial landmarks on upright, front-facing human faces with neutral expressions. Recognised Faces, 2014

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

However, this an unsanctioned and unrealistic version of what could exist, made plausible but the authority of technology, not the dreams of bureaucracy. Brownfield Wonderland, 2022

Frihed, Lighed og Hip-Hop used advanced imaging technology (artificial intelligence) to tell the story of a fictional relationship between the labour movement and hip-hop culture. Frihed, Lighed Og Hip-Hop, 2023

Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025

The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009

In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021

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

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

Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012

Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025

It suggests that the media of the future may not converge into a single stable format, but instead coexist as a patchwork—some fostering clarity, others producing estrangement. Watershed, 2025

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

The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021

What emerges is a narrative of the self that is both enacted and undermined by an indifferent system — an algorithmic account of personality, filtered through the lenses of psychology, technology and cultural expectation. AutoBiography, 2011

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

The work asks how we can imagine a future after the welfare state, now that it seems to be definitively being dismantled. Melting State, 2020

The work featured voices of people who inhabit these oysters, taking in post-work society, symbiotic relationships and alternative models of abundance. Affluence without abundance, 2021

By engaging with the game, players experience how facts and assumed truths can be challenged, restructured and rearranged in playful and experimental ways. Disbelieving Gravity, 2013

Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026

The project dismantles these logics and scrambles their effects. Watershed, 2025

The Ballehage Woman was created by Anders Bojen and Kristoffer Ørum for the outdoor sculpture exhibition Sculpture by the Sea, organised by AROS Museum in Aarhus in 2009. The Ballehage Woman, 2009

Jensen; Ida Marie Hede Bertelsen; Peter Rasmussen; Kasper Hesselbjerg; David Rex; Ulrik Nørgaard; Daphne Bidstrup; Andreas Pallisgaard; and Kristin Haarløv. Radiant Copenhagen, 2009

However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022

The project includes works such as Detergent (Real Imaginary System) and Auto Navigate My History, which visualize, manipulate, and creatively reimagine the information generated by ordinary activities. Day to Day Data, 2008

The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023

None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025

Coffee Lake is a video installation combining computer-generated video with animated text, created for the group exhibition "Machine sans nom" at Bonamatic. Coffee Lake, 2019

Simultaneously with the physical performances, stories of The Ballehage Woman were disseminated across media including a website, YouTube video, Google ads, newspaper articles, and emails. The Ballehage Woman, 2009

These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014

They contribute to a narrowing of bodily representations that is far more damaging in the long run than strange AI slippage. None of These Images Are of Me, 2025

Tank Hip-Hop was the inaugural project that launched the multi-year "Freedom, Equality and Hip-Hop" series, built on the fictional relationship between the labour movement and hip-hop culture. Tank Hip-Hop, 2022

The work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019

None of These Images Are of Me
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