Kristoffer Ørum
Twenty years out of art school, and back in it.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Nothing digital about it. A screen is an object, and objects sit in rooms.
A record-keeper. The website is the work.
Works with machines that are confidently wrong.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
The End of the Universe as We Know It? was a solo exhibition by Anders Bojen & Kristoffer Ørum at Galerie Mikael Andersen in Copenhagen in 2007. The End of the Universe as We Know It?, 2007
The exhibition dealt with invisible communication systems including Wi-Fi networks, radio communications, and chemical signals that operate undetected around us. Signal_Crayfish, 2020
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025
The photographs were found in a cabin after the vessel had spent seven days on the seabed, having been exposed to three atmospheres of pressure and salt water. Depth Estimation, 2019
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
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
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
jerklædte Misforståelser (Feathered Misconceptions) is a fifteen-minute associative performance commissioned by Ny Carlsberg Fondet for their annual celebration of their founder on 28 February 2018. Feathered Misconceptions, 2018
In this way, Ørum reconsidered the relationship between national identity, food, body and surveillance, hoping to open up an identity model where it is possible to be foreign, Danish, body and digital representation at the same time. Putin's Nose, 2019
The work operates as both a technical demonstration and a poetic meditation on the relationship between computation and imagination, revealing the "reservoirs of strangeness" that exist within everyday technological objects. Coffee Lake, 2019
Shown alongside Honey Biba Beckerlee, Anna Bak, Elina Brotherus and Wang & Söderström, among others. Affluence without abundance, 2025
The installation featured speculative scenarios about living arrangements including large oyster habitations. Ebeltoft After The Flood, 2021
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
It is based on the belief that there is no inevitability to the current process of gentrification, it is simply one choice taken out of a million other possible ways we could develop our cities. Brownfield Wonderland, 2022
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
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then travelled to Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
By engaging with the game, players experience how facts and assumed truths can be challenged, restructured and rearranged in playful and experimental ways. Disbelieving Gravity, 2013
But there is now a third gaze, one that works through calculation. Speaker 1, 2026
We are shaped by the grammar of the frame, where composition and colour psychology direct our gaze and mood. Watershed, 2025
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
The book is ring-bound and its plates are 3D-printed. Signal_Crayfish, 2026
Tank Hip-Hop was the inaugural project that launched the multi-year "Freedom, Equality and Hip-Hop" series, built on the fictional relationship between the labour movement and hip-hop culture. Tank Hip-Hop, 2022
Curated by Kevin Malcolm (Vermilion Sands), the show brings together works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, and Kristoffer Ørum. Even the City Dreams of Being Another, 2025
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
Maps are freely available across Aalborg, and the project’s website continues to expand its speculative histories. Aalborg Is The Future, 2024
Jensen; Ida Marie Hede Bertelsen; Peter Rasmussen; Kasper Hesselbjerg; David Rex; Ulrik Nørgaard; Daphne Bidstrup; Andreas Pallisgaard; and Kristin Haarløv. Radiant Copenhagen, 2009
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
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
*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012
A "Sucker Trick" is a magic trick where the magician offers false clues to hide what they are actually doing. Sucker Trick, 2017
Putin's Nose worked at the boundary between object and image, examining how digital images not only register meaning but enter physical space to shape identity and power relations. Putins Nose, 2018
Television screens were also installed, showing interviews that had been produced through workshop-based role play. Invisible Objects, 2016
Ordinary objects—such as a box of detergent or a web browser—become the basis for fictional universes, playful interfaces, and alternative representations of the data embedded in daily life. Day to Day Data, 2008
The project used the signal crayfish as a figure for examining digital surveillance and mapping of human movement through wireless networks. Signal_Crayfish, 2020