Kristoffer Ørum
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Science fiction, set last week.
Most of it was built on other people's work.
This text is generated. He decided what it generates from.
Some of it only exists as a photograph now.
An artist who makes things up about real places.
A sink was reconstructed containing pasta, while spaghetti was modelled from FIMO clay. Invisible Objects, 2016
Ander Bojen & Kristoffer Ørum’s contribution combined personal narrative, historical research, and speculative urban theory to question how collective experience and perception shape the city. A Subjective History of Gdańsk, 2011
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014
For me, these are not just errors, but moments of strange beauty and surplus meaning. Speaker 1, 2026
The project was based on historical facts and scientific data. Djurs Øhav, 2020
The Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
Central to the work is a fictional universe populated by figures such as Torkild Simonsen, Aarhus' first hip-hop mayor (1982-1997), and Marc Johnston, who relocated Denmark's capital from Copenhagen to Aarhus in 2019. Aarhus'er #1, 2025
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
The sculpture is a giant oyster from a setting where the earth is covered by an endless ocean and people have moved into the oysters, which give them shelter, air, warmth and food. Affluence without abundance, 2025
Melting State is a video installation on three screens where the buildings of Statens Kunstfond, Det Kongelige Kunstakademi, and Kulturministeriet are subjected to computer-generated physics simulations. Melting State, 2020
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
The project draws inspiration from the largely forgotten history of ternary computing—an alternative to binary systems that operates on three states: true, false, and unknown. Diffused States (Boston), 2025
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
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
The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. Depth Estimation, 2019
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025
The project examined the invasive signal crayfish species, cataloguing its chemical communication abilities in comparison to human technologies like Wi-Fi. Signal_Crayfish, 2021
I do it because I see a critique of the world that too often points outward, as if one could speak from a neutral and elevated place. None of These Images Are of Me, 2025
Exhibited in several international contexts, the piece was shown in The Blender’s Orbit (Kingly Court, London), Time Pop 2 (Prince Charles Cinema, London), and Loop Pool (Raum für Projection, Oberhausen). The Perfect Wave, 2004
Inside the exhibition space at Sydhavn Station (housed in a former DSB kiosk), the walls were painted with abstract graffiti and AI-generated videos showed various demonstrations and concerts related to this fictional history. Frihed, Lighed Og Hip-Hop, 2023
The project consists of a book, a video, and a sculpture. Once We All Walk through Solid Objects, 2007
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
Through AI-generated images and counterfactual storytelling, the exhibition envisions a self-built utopia in Hvidovre. Hvidovre Makes Good Times Better, 2025
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025
According to the Nose was a walking protocol that provided opportunities to consider what life would look like if you were a nose. According to the Nose, 2021
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
The work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 2021
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
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
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014
Rather than corporate development, this speculative trajectory imagines ternary computing as evolving through grassroots cultures of experimentation and resistance. Diffused States (Boston), 2025
The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025