Kristoffer Ørum
Science fiction, set last week.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Twenty years out of art school, and back in it.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A documentary practice. Every work here has an address and a date.
This text is generated. He decided what it generates from.
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
jerklædte Misforståelser (Feathered Misconceptions) is a fifteen-minute associative performance commissioned by Ny Carlsberg Fondet for their annual celebration of their founder on 28 February 2018. Feathered Misconceptions, 2018
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
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
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
This approach shares a lineage with experimental practices such as Surrealist automatic writing and collage. Watershed, 2025
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
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
Another, the film The City that No Longer Exists (2020), was shown as a projection of a purple oyster narrating a story where humans transform into oyster-like beings after their city on a drained lake is flooded. Djurs Øhav, 2020
The work referenced Gustave Courbet's 1866 painting "L'Origine du monde", which was kept hidden behind a curtain for over a century. Sucker Trick, 2017
The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019
Some pieces he remembers to add, others he forgets.
By slowing down the act of viewing, the project alters the relationship between attention and imagery. 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
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
The system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
Putin's Nose began with an everyday moment: looking into a shopping bag full of groceries and noticing a beetroot that, for a moment, looked like the artist's Russian grandmother's nose. Putin's Nose, 2019
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
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
As the lecture unfolded, the lecturer (actor Kristian Husted) gradually transformed from a detached academic into a man consumed by his subject. The Pattern In Us All, 2007
None of us escape this system by pretending we are not part of it. None of These Images Are of Me, 2025
Disparate subjects such as English Vorticism, brainwaves, animal perception, and doomsday scenarios were connected in an increasingly ambitious thesis. The Pattern In Us All, 2007
Hydrographic prints on cornstarch included text "NO pearls or seaweed in the toilets!!! they are getting clogged" (2021). Ebeltoft After The Flood, 2021
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
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
About this website This is one of many possible records of Kristoffer Ørum's work, but it's never going to be complete.
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then travelled to Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
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
This forms a new layer of mediation—one that is constant, pervasive, and almost invisible. Watershed, 2025
The work forms part of De Tabte Runesten, a group exhibition returning nine lost cultural artefacts to Rundetaarn through the visions of contemporary artists. The Good, the Lost, and the Beautiful, 2025
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
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