Kristoffer Ørum
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A programmer who picks the wrong algorithm on purpose.
This text is generated. He decided what it generates from.
Comedy.
Mostly it is admin.
Local. Copenhagen and Aarhus, mostly.
It continues a line of work on identity, architecture and urban development begun in At the Edge I (Copenhagen, 2024), now more firmly rooted in Malmö’s local context. Even the City Dreams of Being Another, 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
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
The project originated from a beetroot anecdote that was strange in itself: the moment when, looking at beetroots in a shopping bag, one seemed to resemble the artist's grandmother's nose, or perhaps Putin's nose from a Facebook image. Putins Nose, 2018
The exhibition included sangtekster written with algorithms, erosion models, 3D prints, and architectural models. Ebeltoft After The Flood, 2021
Diffused States imagines a counterfactual technological history in which graffiti and phone phreaking converged through the discovery that modified spray paint could interact with electromagnetic infrastructure. Diffused States (Boston), 2025
The exhibition recounted the story of a black magnetic fluid, ferrofluid, that generated forms and figures without human interaction. The End of the Universe as We Know It?, 2007
The work was presented at NLH Space in Copenhagen, which was run by The Organisation – Association for Artistic and Curatorial Platforms. Et Andet Rum 2, 2009
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
It is based on the belief that there is no inevitability to the current process of gentrification, it is simply one choice taken out of a million other possible ways we could develop our cities. Brownfield Wonderland, 2022
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
The works were presented as productive machines possessing a capacity to carry out operations both as singular units and assembled into larger wholes. Coffee Lake, 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
Strange audio players and distorted timelines hint at other ways things could have turned out, with hip-hop positioned not as a fixed genre or imported form, but as a set of evolving principles. Aarhus'er #1, 2025
Leddyrsomsorg / Arthropod Care is a twenty-minute video, one of nine works Ørum showed in FORSTADIER / Precursors — a duo exhibition with Aske Thiberg, curated by Morten K Jacobsen and Heidi Hove. Leddyrsomsorg / Arthropod Care, 2026
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
As one deciphers mud from the ground that has been smeared onto the wall in the shape of geometric letterforms, dust from the building site made up of particles that were once buildings enters one's lungs. Brownfield Wonderland, 2022
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025
The system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021
The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017
By working with AI models trained on biased and incomplete datasets, DIFFUSED STATES engages with both their limitations and their possibilities. Diffused States (Vancouver), 2025
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026
Local rumours, past dreams, and forgotten figures merge with the town’s documented history across media: an interactive video installation, posters, sound works, and music. Hvidovre Makes Good Times Better, 2025
The installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017
Produced for Aarhus Public Libraries and published by Haandholdt, the app was made freely available through iTunes. KAOS, 2012
The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. Depth Estimation, 2019
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
The work suggests that our understanding of phenomena like fire, water, and collective action is increasingly shaped by computational models and digital representations. Coffee Lake, 2019
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025
Sometimes he has time to update it, sometimes he does not.
Over the past year, I have created a series of self-portraits using locally run AI. None of These Images Are of Me, 2025
Depth Estimation is a 3D printed sculpture made from corn starch with inkjet transfer, based on algorithmic depth estimation of a photograph. Depth Estimation, 2019
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021
The video can be described as a combination of Half-Life 2, Hitchcock's *Vertigo*, and Bridget Riley, rendered in a computer-game-like animation of a man watching a screen. Once We All Walk through Solid Objects, 2007
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026