Kristoffer Ørum
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
An artist who makes things up about real places.
A documentary practice. Every work here has an address and a date.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Research. Somebody is going to have to examine it.
Digital art.
The role-players — dressed as green warriors and magicians — relied on grass as their main resource. Game Continent, 2010
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
The project involved both the creation of a physical artist's book and a 3D-printed sculptural element integrated into the cover design. Signal_Crayfish, 2021
The book was commissioned during the early days of the COVID-19 pandemic as part of a group of works that examined interspecies entanglement and human vulnerability. Signal_Crayfish, 2021
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
They draw on the advertising industry’s most simplified identity categories and support algorithmic preferences. None of These Images Are of Me, 2025
What you see here is just what felt important to document at the time.
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
Being your own record-keeper means accepting these gaps and changes.
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
In Helsinki, at the ANTI Contemporary Art Festival the project unfolded in the streets and open squares of the city centre. Mundane Heroics, 2019
Soap Particles (2005) is a 3D animation work exhibited in two venues: as part of a solo show at Q, Copenhagen (20–29 May 2005) and in the group exhibition Critical Mass at Skulpturens Hus, Stockholm (3 May 2005). Soap Particles, 2005
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
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 exhibition took as its subject the sources of inspiration behind artistic practice, inviting 35 Danish artists to contribute an object, material, or work that revealed part of their process. Auto Navigate My History, 2014
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 project builds on Ørum's ongoing work "Freedom, Liberty, and Hip-Hop," which envisions alternative Danish histories. Monuments of A Fictitious Past, 2024
The installation features ephemeral, non-heroic structures that encourage scrutiny of conventional heroic narratives. Monuments of A Fictitious Past, 2024
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
The project was documented and promoted through Instagram, allowing for continued engagement with the speculative narratives beyond the physical exhibition period. Mr. Spray, 2024
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
They are the most revealing parts of the process. Speaker 1, 2026
By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
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
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
Over the past year, I have created a series of self-portraits using locally run AI. None of These Images Are of Me, 2025
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
As Judith Butler has pointed out, an acknowledgement of our interdependence can be a basis for political communities, while Sara Ahmed highlights the possibility of an “affective solidarity” built on honesty rather than claims of innocence. None of These Images Are of Me, 2025
The question it starts from is what kinds of monuments we need today. Monuments of a Fictional Past (Kraków Edition), 2025
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
The piece challenges conventional media formats by introducing poetic, disconcerting aesthetics into mainstream broadcast, encouraging reflection on surveillance, representation, and identity in the digital age. Data Kroppe, 2017
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
The project invited citizens to have their pets gently scanned to contribute to a composite digital monster that would inhabit the area around Borchs Gård in Kolding city centre. The Kolding Creature, 2021