Kristoffer Ørum
Made by hand, mostly. Cut, cast, sanded, painted.
A record-keeper. The website is the work.
A teacher who keeps a studio in order to have something to teach from.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Local. Copenhagen and Aarhus, mostly.
The website keeps itself up to date. He does not.
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
The performance concludes with Google's speech recognition continuously but often mistakenly transcribing what the lecturer says, with colours changing rhythmically each time the text updates. Feathered Misconceptions, 2018
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
Some appear edible, some pneumatic, some built from sound or breath. Monuments of a Fictional Past (Kraków Edition), 2025
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
The exhibition featured video projections, 3D-printed sculptures, wireless transmissions, two-dimensional works, and an augmented reality component that allowed visitors to view "monsters" inhabiting the gallery through their phone cameras. Mundane Monsters, 2022
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
At the moment the building site is a site of overlapping and contested imaginaries and Brownfield Wonderland is a celebration of this brief moment where two ideas of what a city is coexist. Brownfield Wonderland, 2022
The signs Prognose eller kaos (Prognosis or Chaos) and a second Leddyrsomsorg in the gallery. Leddyrsomsorg / Arthropod Care, 2026
Stasm detects the position of 77 facial landmarks on upright, front-facing human faces with neutral expressions. Recognised Faces, 2014
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
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 2025
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
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
In art and activism, humour has repeatedly functioned as a way of exposing the absurdity of power—from Dadaist performances to contemporary meme cultures. None of These Images Are of Me, 2025
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
The work contrasts the artificially generated with the seemingly authentic. Monuments of A Fictitious Past, 2024
The game turns on how the concept of gravity is embedded in language, metaphors, and everyday actions. Disbelieving Gravity, 2013
Participants borrowed nose-shaped masks equipped with audio guides from Lokale, taking them on walks through the Nørrebro area around Griffenfeldsgade 27. According to the Nose, 2021
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
The project dismantles these logics and scrambles their effects. Watershed, 2025
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
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 2025
I make portraits because I would like to avoid them, but I know they are part of the game on which I depend. None of These Images Are of Me, 2025
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
The exhibition consisted of a series of household objects and sculptural forms recreated in unusual materials and fitted with custom electronics. Invisible Objects, 2016
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
It presented a dystopian scenario where computer-generated body fragments and singing microwave ovens suggested a post-human future. The End of the Universe as We Know It?, 2007
Every Part a Body is a sixty-second digital video, shown in the 60Seconds programme of The Wrong Biennale at CBS Digital Space in March 2026. Every Part a Body, 2026