Kristoffer Ørum
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
An artist who makes things up about real places.
Not research. The works were made first and explained afterwards.
The machines are collaborators and cannot be credited.
Collaborative. Most of it was made with other people.
Science fiction, set last week.
The system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
In Helsinki, at the ANTI Contemporary Art Festival the project unfolded in the streets and open squares of the city centre. Mundane Heroics, 2019
The project’s online component was crafted with HTML, CSS, and Flash as a web-based work. contributors included Maja Zander; Kaspar Bonnén; Stig W Jørgensen; Palle R. Radiant Copenhagen, 2009
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
Call-outs have of course played an important role in making injustices visible, but when they are based on an idea of moral purity, they also create distance. None of These Images Are of Me, 2025
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
Using the fictional device Scope 3000, he ultimately merged with the patterns themselves. The Pattern In Us All, 2007
The objects were fabricated by hand, with airbrushed surfaces and traces of manual production visible on the casts. Invisible Objects, 2016
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
The work successfully expanded the "Freedom, Equality and Hip-Hop" series into new institutional and performance contexts. Mr. Spray, 2024
In the machine's failure to see me correctly, and in the unexpected beauty of its attempt, I was given a chance to see myself in new ways. Speaker 1, 2026
The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012
Spray was presented as both an exhibition and performance at Friisland's Center for Performance Art during Art Matter festival. Mr. Spray, 2024
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025
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 work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
The site opens on the series title and a single line — "Would you like to know more?" — set in pale green with a cartoon crayfish at the edge of the frame. Would You Like to Know More, 2017
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 art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
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
*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
The exhibition invited seven artists to examine the expressive and poetic qualities of computer programming, looking at how code affects us beyond the interfaces of software applications. Listening Without Ears, 2019
The project builds on Ørum's ongoing work "Freedom, Liberty, and Hip-Hop," which envisions alternative Danish histories. Monuments of A Fictitious Past, 2024
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
Caught between constant computer-generated simulations of destruction and status quo institutions, it becomes difficult to imagine that the welfare state can be replaced by something different and better. Melting State, 2020
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
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
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
The project connected personal memory (the grandmother's nose) with political imagery (Putin's face) through everyday objects (beetroots) and digital mediation. Putins Nose, 2018
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
The exhibition was curated by Ida Schyum as the third presentation in Radar Contemporary's Extensions series. Signal_Crayfish, 2021
The Danish Arts Foundation's support enabled the presentation of the work in Vermont, introducing international digital art practices to the local community. Mundane Monsters, 2022
This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014
This Brownfield Wonderland might very well appear once again when this project is long forgotten, and current norms of what is useful and productive are forgotten. Brownfield Wonderland, 2022