Kristoffer Ørum
A teacher who keeps a studio in order to have something to teach from.
Collaborative. Most of it was made with other people.
Solitary. One person decides what is documented and what is forgotten.
Works with animals that have not agreed to it.
Most of it was built on other people's work.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
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
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
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
These events never happened; the project sets out what might have been possible. Frihed, Lighed Og Hip-Hop, 2023
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
The opening included a performance component set in an alternative past, presenting counterfactual work that narrated fictional relationships between political movements and cultural expression. Mr. Spray, 2024
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019
The faces produced through this process often appear distorted or uncanny to human eyes, yet they retain a resemblance to mainstream ideals of beauty. Recognised Faces, 2014
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
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
I also do it because I, as a white, established, middle-aged male artist, embody many of the privileges and blind spots that shape both the world and the art world. None of These Images Are of Me, 2025
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
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
The aesthetic of this space is deliberately glitchy and non-photorealistic. Watershed, 2025
The project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
These objects continuously monitored conversations in the gallery space, converting spoken words into text through automated transcription systems, then physically printing the transcribed text. Listening Without Ears, 2019
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025
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 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 project encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025
The project was exhibited at General Public in Berlin, tranzit.sk in Bratislava, Casino Luxembourg in Luxembourg, and Fondazione Volume! in Rome, as well as Künstlerhaus Bethanien in Vienna. Topographies of the Insignificant, 2010
Anders Bojen and Kristoffer Ørum focus on Isaac Newton’s theory of gravity and the metaphors and assumptions surrounding it. Disbelieving Gravity, 2013
The broadcasts cover subjects including singing carrots, earthquakes, the colonization of outer space, and a theory of everything. Search for Carrot ExtraTerrestrial Intelligence, 2006
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 Good, the Lost, and the Beautiful is a reconstruction of the Lee-stone, one of nine runestones believed to have been lost in the Copenhagen Fire of 1728. The Good, the Lost, and the Beautiful, 2025
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 2025
We are collectively searching for new grammars of public discourse. Watershed, 2025
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
Lesson plans, assessment structures and financial data are translated into dynamic graphics, situating the institution in relation to broader societal forces and its individual members. A Body Has Many Members, 2012