Kristoffer Ørum
Solitary. One person decides what is documented and what is forgotten.
The website keeps itself up to date. He does not.
A teacher who keeps a studio in order to have something to teach from.
Not research. The works were made first and explained afterwards.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
A record-keeper. The website is the work.
It combines Live Action Role Playing (LARP), performance art, and sculpture, developed in close collaboration with young participants from across the Nordic region. Mundane Heroics, 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
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
The piece was first aired on November 7, 2017, as part of a series on innovative expressions in public media. Data Kroppe, 2017
These unsolicited “press releases” became part of the ongoing re-imagining of Amager by local government, private enterprise, and other forces. City Planning, 2010
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
The project questions the assumption that it is "easier to imagine the end of the world than the end of the welfare state" (paraphrasing Slavoj Žižek). Melting State, 2020
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 2025
The exhibition was curated by Ida Schyum as the third presentation in Radar Contemporary's Extensions series. Signal_Crayfish, 2021
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
Standing at 1.5 metres, the piece draws on 17th-century drawings by Jón Skonvig, known for his work with antiquarian Ole Worm. The Good, the Lost, and the Beautiful, 2025
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025
What emerges is a narrative of the self that is both enacted and undermined by an indifferent system — an algorithmic account of personality, filtered through the lenses of psychology, technology and cultural expectation. AutoBiography, 2011
Two folders, with texts by medical historian Adam Bencard and by Kristoffer Ørum, printed inkjet and held in 3D-printed R-PETG holders in both buildings. Leddyrsomsorg / Arthropod Care, 2026
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
Each of the 26 participating artists presented a single work, and the audience was permitted to view each piece for exactly one minute. Where the walls weep sugar, 2025
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
Listening Without Ears consists of 3D printed copies of everyday objects that transcribe what is said in the exhibition space and print it out. Listening Without Ears, 2019
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 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
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
The project operated on several levels with "lines of flight" into the city, online, and in local media. According to the Nose, 2021
The solo exhibition Djurs Øhav addressed climate change and ecological narratives concerning Kolindsund, a formerly drained lake on Djursland. Djurs Øhav, 2020
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010
The Pattern In Us All (2007) was a lecture performance created by Anders Bojen & Kristoffer Ørum at the University of Copenhagen. The Pattern In Us All, 2007
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
One night I dreamt that the cancer might turn the Russian president into a crab, or perhaps a crayfish, and woke to a report that he was dying of cancer. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009