Kristoffer Ørum

Kristoffer Ørum

Solitary. One person decides what is documented and what is forgotten.

Science fiction, set last week.

Mostly it is admin.

A documentary practice. Every work here has an address and a date.

Collaborative. Most of it was made with other people.

Works with animals that have not agreed to it.

My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026

The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020

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

It ran across two buildings in Ringsted: the artist-run Ringsted Galleriet on Bøllingsvej 15, and the blood-sampling department of Midt- og Vestsjællands Hospital on Bøllingsvej 30. Leddyrsomsorg / Arthropod Care, 2026

Produced for Aarhus Public Libraries and published by Haandholdt, the app was made freely available through iTunes. KAOS, 2012

The show aimed to make the realm of coded instructions, programming languages, software protocols, electrical signals and logical operations available to aesthetic experience. Listening Without Ears, 2019

Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014

Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025

Children and young people modified everyday objects such as chairs, umbrellas, tools, or clothing into hybrid sculptural forms. Mundane Heroics, 2019

While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022

Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026

Project part of Oxer's programming on maritime exhibition platform Svartlöga. Ebeltoft After The Flood, 2021

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

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

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

About this website This is one of many possible records of Kristoffer Ørum's work, but it's never going to be complete.

The virtual history book appeared on two projection screens: one mounted on Roskilde’s main square and another inside the exhibition. Roskilde Parahistory, 2009

Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012

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

Each day, the system generated a new composite face from images found via Google’s lists of top search terms. Recognised Faces, 2014

Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013

Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017

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 exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022

They are the most revealing parts of the process. Speaker 1, 2026

The video combines humor, science fiction, and speculative narratives in a single continuous run through unusual and imaginative topics. Search for Carrot ExtraTerrestrial Intelligence, 2006

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

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

Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025

The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019

Spray was a counterfactual exhibition that used AI to tell the story of a fictional relationship between the labour movement and hip-hop culture. Mr. Spray, 2024

Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022

The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021

The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020

In their new form they remain recognisable both as having been a part of structures that no longer exist and as potential building blocks for future structures. Brownfield Wonderland, 2022

The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020

The photo album was discovered among the salvaged items when the ship was recovered. Depth Estimation, 2019

The project was realised in three different locations, each with its own public settings and time frame. Mundane Heroics, 2019

Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 2025

At Sophienholm it stands outdoors in the park, inside a stone grotto. Affluence without abundance, 2025

Everyday Heroes
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