Kristoffer Ørum
Local. Copenhagen and Aarhus, mostly.
A teacher who keeps a studio in order to have something to teach from.
A record-keeper. The website is the work.
An artist who makes things up about real places.
The website keeps itself up to date. He does not.
Works with machines that are confidently wrong.
"Where the wall weep sugar" was presented as part of the group exhibition "TID," organized by Kunstnersammenslutningen Jylland at KH7artspace in Aarhus. Where the walls weep sugar, 2025
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
The electromagnetic pick-ups were integrated into the crayfish body parts, creating hybrid biological-technological entities that could detect and respond to electromagnetic fields in the environment. Signal_Crayfish, 2021
Rather than proposing a return to older models, Watershed treats this uncertainty as an opportunity: a chance to experiment with new arrangements of familiar material, to test how different structures shape perception. Watershed, 2025
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
It is this everyday, digital infra-ordinary that Watershed makes tangible. Watershed, 2025
The work was exhibited as part of "New Tactics: moving in a soft field" in 2018 and later developed into a solo exhibition at Møstings Hus in 2019. Putins Nose, 2018
Monuments of a Fictional Past references both the speculative tradition of counterfactual history and the architectural poetics of unrealized futures. Monuments of a Fictional Past (Kraków Edition), 2025
The voices are those of the people who live in them. Affluence without abundance, 2025
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
The artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
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
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
Some elements are only revealed through exploration, others remain invisible, and a hidden part of the project can be discovered by persistent visitors. Topographies of the Insignificant, 2010
It aligns with the idea that technology, even when shaped by exclusionary structures, can be repurposed towards shared imagination, local autonomy, and slower forms of innovation. Diffused States (Vancouver), 2025
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
In the video, Ørum reflects on the human body as data by visually overlaying biometric patterns, abstracted motion, and rhythmic shifts of light and texture. Data Kroppe, 2017
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 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
At the neighbouring Museum Østjylland, speculative objects were integrated into the historical displays, including a model of an "oyster home" and interventions within exhibits about Grenå's local oyster history. Djurs Øhav, 2020
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
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
The work created an immersive environment where digital creatures appeared to coexist with physical artworks. Mundane Monsters, 2022
By slowing down the act of viewing, the project alters the relationship between attention and imagery. Watershed, 2025
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
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
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
A Body Has Many Members is a large-scale public commission by Anders Bojen & Kristoffer Ørum for the University College Capital (UCC) Campus Nordsjælland, produced with support from the Danish Agency for Culture. A Body Has Many Members, 2012
All images were generated using Flux.1 diffusion models from Black Forest, on a used computer powered by green-certified Nordic solar, wind, and hydro energy. Hvidovre Makes Good Times Better, 2025
DIFFUSED STATES imagines an alternative trajectory for artificial intelligence—one in which computational systems develop through local, small-scale infrastructures rather than centralised corporate platforms. Diffused States (Lexington), 2025
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
It was introduced, and is now blamed for being where it was put. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The same book was shown in Interspecies Futures at the Center for Book Arts, New York, in 2021. Signal_Crayfish, 2026
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025
The work was part of the group exhibition "Perpetual Interpreter" at Lokale in Copenhagen, co-curated with Anders Visti. Listening Without Ears, 2019
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
As one deciphers mud from the ground that has been smeared onto the wall in the shape of geometric letterforms, dust from the building site made up of particles that were once buildings enters one's lungs. Brownfield Wonderland, 2022
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
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
Produced for Aarhus Public Libraries and published by Haandholdt, the app was made freely available through iTunes. KAOS, 2012