Kristoffer Ørum
Comedy.
An artist who makes things up about real places.
Research. Somebody is going to have to examine it.
Not research. The works were made first and explained afterwards.
Most of it was built on other people's work.
Works with animals that have not agreed to it.
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
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 contrast is not presented as a solution but as a tool of critique—making the invisible conventions of ordinary web interfaces visible by inverting them. Watershed, 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
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
Signal_Crayfish takes the invasive signal crayfish, which displaces native Danish freshwater species and communicates chemically across distance, and sets it beside human communication technology. Would You Like to Know More, 2017
They have been 3d scanned, using the kind of technology one might find in one's smartphone, and subsequently 3d printed in monochrome versions using a variety of materials ranging from terracotta to granite. Brownfield Wonderland, 2022
Its on-screen lyrics tell the factual story of a 507-year-old clam killed during the scientific process of determining its age. Djurs Øhav, 2020
Project part of Oxer's programming on maritime exhibition platform Svartlöga. Ebeltoft After The Flood, 2021
The animation recreates the street outside the former artist-run space, projecting a computer-generated scene onto a screen covering the window. Et Andet Rum 2, 2009
Once connected to a computer and powered up, the device generates multiple Wi-Fi networks. Wireless Walnut, 2018
The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
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
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 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
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
At the Edge II is supported by Kulturrådet, Malmö stad, Region Skåne, and Statens Kunstfond. Even the City Dreams of Being Another, 2025
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
Each map focuses on a section of pavement filled with overlooked details such as cigarette butts, coffee spills, chewing gum and small weeds. Topographies of the Insignificant, 2010
Malmö New City Hall presents a playful, speculative bureaucracy infused with hip-hop culture, where city planning unfolds through rap battles, breakdancing, and public meetings turned into performative spaces of collective decision-making. Even the City Dreams of Being Another, 2025
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
Ander Bojen & Kristoffer Ørum’s contribution combined personal narrative, historical research, and speculative urban theory to question how collective experience and perception shape the city. A Subjective History of Gdańsk, 2011
The installation combined digital and physical media to create humorous and inventive takes on contemporary environmental and technological themes. Mundane Monsters, 2022
Brownfield Wonderland is a multi-platform art project at Spanien 19C in Aarhus, Denmark. Brownfield Wonderland, 2022
*AutoBiography* is a video installation by Anders Bojen and Kristoffer Ørum in which the artists rewrite their biographies through a mathematical system that continuously generates unstable interpretations of their identities. AutoBiography, 2011
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
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
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
The exhibition posed a paradox about how we can become accustomed to living in a constantly changing world with technological trends that supplement, expand and reinforce reality with extra layers of information. Mundane Monsters, 2023
The outcome was a series of live tableaux presented in public space, inviting direct engagement and chance encounters. Mundane Heroics, 2019
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
Here I was using the same setup I had been trying to get out of: the darkened room, the rows of chairs facing me, the table, the laptop. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
Children and young people modified everyday objects such as chairs, umbrellas, tools, or clothing into hybrid sculptural forms. Mundane Heroics, 2019
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
A local newspaper printed an account of a witness encounter with The Ballehage Woman, sponsored by tessellax.com as advertising disguised as news. The Ballehage Woman, 2009