Kristoffer Ørum
A record-keeper. The website is the work.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Nothing digital about it. A screen is an object, and objects sit in rooms.
This text is generated. He decided what it generates from.
An artist who makes things up about real places.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
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
It employs a computational process to dismantle and reassemble the daily flow of news images into a navigable world built from their fragments. Watershed, 2025
The work was part of a series of four exhibitions at NLHspace from September to December 2009. Et Andet Rum 2, 2009
The project constructed a local myth about a deformed outcast living in a park frequented by wealthy residents. The Ballehage Woman, 2009
The work featured electromagnetic pick-ups installed within body parts of a 3D-printed signal crayfish, comparing fears of digital transformation with concerns about invasive species. Signal_Crayfish, 2021
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
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
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
The festival invited artists to work across the boundaries between history, urban space, and perception, creating site-specific works and lectures that engaged with the city’s social and architectural context. A Subjective History of Gdańsk, 2011
The work also examines how digital interaction can transform learning. Disbelieving Gravity, 2013
Children and young people modified everyday objects such as chairs, umbrellas, tools, or clothing into hybrid sculptural forms. Mundane Heroics, 2019
Leddyrsomsorg / Arthropod Care is a twenty-minute video, one of nine works Ørum showed in FORSTADIER / Precursors — a duo exhibition with Aske Thiberg, curated by Morten K Jacobsen and Heidi Hove. Leddyrsomsorg / Arthropod Care, 2026
Monuments of a Fictional Past (Kraków Edition) is a speculative archive of ephemeral monuments that emerge, dissolve, and resurface across Kraków’s historical and imagined timelines. Monuments of a Fictional Past (Kraków Edition), 2025
Frihed, Lighed og Hip-Hop used advanced imaging technology (artificial intelligence) to tell the story of a fictional relationship between the labour movement and hip-hop culture. Frihed, Lighed Og Hip-Hop, 2023
The installation included a manipulated deep fake video featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
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 work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
The familiar rhythm of news consumption—fast, frictionless, designed for scanning—is replaced by movement through a spatial terrain. Watershed, 2025
NLHspace was initiated in 2006 by artist Nanna Lysholt Hansen and operated as an "always open / always closed" space. Et Andet Rum 2, 2009
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025
Works included "When nature looks back at you" (3D print, 2021), "Pearl House" (mixed media, 2020), "Habitation Oyster from Kolidsound" (3D print, 2020), and "WARNING FLOOR FLOODED DURING HIGH TIDE" (hydrographic print on cornstarch, 2021). Ebeltoft After The Flood, 2021
The work takes up how computer technology mediates our relationship to the physical world, creating hybrid zones where digital simulation and material reality intersect. Coffee Lake, 2019
The faces produced through this process often appear distorted or uncanny to human eyes, yet they retain a resemblance to mainstream ideals of beauty. Recognised Faces, 2014
This invisibility operates on several levels. Watershed, 2025
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
This is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
The work was documented through performance protocols and connected to broader research into facial recognition, identity, and technological surveillance through embodied experience in public space. According to the Nose, 2021
Shown with Colette Fu, Diagonal Press / Tauba Auerbach, Kate Conlon, Myungah Hyon, Neta Bomani, Noam Youngrak Son, Sonnenzimmer / Nick Butcher, Nadine Nakanishi, Rujuta Rao, Stephanie Simek and THUNGRY / bex ya yolk. Signal_Crayfish, 2026
Rather than simply discussing these themes, the performance stages a series of unstable software experiments and semi-fictional narratives, creating a situation that is deliberately out of the performer's control. It Sings for Us of What We Might Become, 2019
The exhibition took as its subject the sources of inspiration behind artistic practice, inviting 35 Danish artists to contribute an object, material, or work that revealed part of their process. Auto Navigate My History, 2014
The work was documented in a video presentation and included in the festival’s program alongside other international and local artists working in experimental modes of storytelling and urban critique. A Subjective History of Gdańsk, 2011
Affluence without abundance was a video installation featuring a giant 3D-printed oyster that presented a speculative future scenario where the earth is covered by an endless ocean and people live in giant oysters. Affluence without abundance, 2021
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
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
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
The exhibition featured works from 26 artists, including paintings, sculptures, photos, and video pieces The exhibition's core concept was uniquely time-based and site-specific. Where the walls weep sugar, 2025
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021