Kristoffer Ørum
An artist who makes things up about real places.
Solitary. One person decides what is documented and what is forgotten.
This text is generated. He decided what it generates from.
Mostly it is admin.
Made by hand, mostly. Cut, cast, sanded, painted.
Collaborative. Most of it was made with other people.
On the screen of a phone or tablet, one can arrange a combination of scaffolding, 3d scans from the site and architectural fragments into an unstable and intangible building mass. Brownfield Wonderland, 2022
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
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
The audience received a hand-out titled The Pattern in Us All: Exposing the Substructures of the World attributed to Kristian Husted. The Pattern In Us All, 2007
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
A central relief on the reconstructed stone, possibly once a hammer, is reimagined here as a spray can, folding historical reference into playful anachronism. The Good, the Lost, and the Beautiful, 2025
From the cover of the newspaper that the greengrocer wrapped the beets in, Russian President Vladimir Putin looked up, his face now covered in beetroot juice splatter. Putin's Nose, 2019
Rather than corporate development, this speculative trajectory imagines ternary computing as evolving through grassroots cultures of experimentation and resistance. Diffused States (Boston), 2025
The project reflected on the transformation of the district: once a mixed working-class and industrial area, now rapidly becoming an upscale residential neighbourhood. City Planning, 2010
By framing the narrative as a myth, the artists connected the story of The Ballehage Woman to broader experiences of people excluded from society due to norms around appearance and behavior in Denmark. The Ballehage Woman, 2009
These images, generated through AI, deliberately embrace glitches and impossibilities to question how historical narratives are constructed and repeated. Aarhus'er #1, 2025
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
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
Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
The system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
Produced for Aarhus Public Libraries and published by Haandholdt, the app was made freely available through iTunes. KAOS, 2012
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
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
Invisible Objects was presented at Prince Gallery, Copenhagen, from 3 June to 1 July 2016. Invisible Objects, 2016
Installation took place aboard Svartlöga ship functioning as gallery space. Ebeltoft After The Flood, 2021
The work asks how we can imagine a future after the welfare state, now that it seems to be definitively being dismantled. Melting State, 2020
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
The project features a map and website highlighting 16 reinterpreted locations in Aalborg. Aalborg Is The Future, 2024
Guests were invited to renegotiate their role — not just as viewers, but as potential participants in a system of storytelling, symbols, and rituals that reframed both the neighbourhood and the museum as shared sites of imagination. Game Continent, 2010
It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022
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
Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022
The machine's interpretation is not just a poor copy of reality; it creates a new representation with its own logic and uncanny aesthetic. Speaker 1, 2026
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011
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 project was presented as part of the Alternativa 2011–2012 festival, a contemporary art festival in Gdańsk that focused on experimental and interdisciplinary approaches to art and culture. A Subjective History of Gdańsk, 2011
The piece challenges conventional media formats by introducing poetic, disconcerting aesthetics into mainstream broadcast, encouraging reflection on surveillance, representation, and identity in the digital age. Data Kroppe, 2017
The show took place from 2017-08-18 to 2017-12-09, inspired by Herman Melville’s *Bartleby, the Scrivener* and its quiet refusal: “I would prefer not to.” Blind Listening, 2017
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
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
The role-players — dressed as green warriors and magicians — relied on grass as their main resource. Game Continent, 2010
The artists sent unsolicited emails to residents of the Ballehage area warning of an epidemic of Involuntary Tessellation and offering cures with a link to tessellax.com, a fake medical website based on an altered AIDS treatment site. The Ballehage Woman, 2009
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
Previous iterations of Freedom, Equality and Hip-hop have appeared at Kongegaarden (Korsør), Sydhavn Station (Copenhagen), Friisland (Copenhagen Nordhavn), Survival Kit Biennial (Riga, Latvia), and F.eks. (Aalborg). Hvidovre Makes Good Times Better, 2025