Kristoffer Ørum

Kristoffer Ørum

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

An artist who makes things up about real places.

A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.

Most of it was built on other people's work.

Local. Copenhagen and Aarhus, mostly.

Works with machines that are confidently wrong.

The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019

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

Roskilde Parahistory was part of the group exhibition Kurs at the Museum of Contemporary Art in Roskilde in 2009. Roskilde Parahistory, 2009

The project continued to develop as a multi-year work, with subsequent presentations including "Mr. Frihed, Lighed Og Hip-Hop, 2023

The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020

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

The installation included various nose-related works including "My Nose", "Nose detector", and "Nose Archive", alongside "Face of Russia". Putins Nose, 2018

The game turns on how the concept of gravity is embedded in language, metaphors, and everyday actions. Disbelieving Gravity, 2013

It continues a line of work on identity, architecture and urban development begun in At the Edge I (Copenhagen, 2024), now more firmly rooted in Malmö’s local context. Even the City Dreams of Being Another, 2025

Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019

The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. Depth Estimation, 2019

Anders Bojen and Kristoffer Ørum focus on Isaac Newton’s theory of gravity and the metaphors and assumptions surrounding it. Disbelieving Gravity, 2013

The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014

The installation asked speculative questions: Can you remember when Prime Minister Helle Thorning played a DJ set in Parliament instead of giving an opening speech? Frihed, Lighed Og Hip-Hop, 2023

The sculptures were inspired by the role-players' own objects and toolkit, translating elements from their gaming practice into interactive art objects. Everyday Heroes, 2019

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 installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011

At the Edge II is supported by Kulturrådet, Malmö stad, Region Skåne, and Statens Kunstfond. Even the City Dreams of Being Another, 2025

The exhibition blurs the line between documentary and fiction, making room for the unrealised potential of the past to resurface not as nostalgia, but as unfinished possibility. Aarhus'er #1, 2025

I miss images that are weird, flawed, or personal. None of These Images Are of Me, 2025

Everyday objects were recognisable yet altered. Mundane Heroics, 2019

The project arises from a media environment where trust in both institutions and images is unsettled. Watershed, 2025

Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020

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

Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009

The project's visual materials referenced aesthetics from Djurs Sommerland and airplane safety folders. Djurs Øhav, 2020

The exhibition catalogue was designed in a sci-fi paperback style and published by backbonebooks. Signal_Crayfish, 2021

AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024

The project imagines a future where columns echoing ancient Greek wooden architecture lose their weight or melt, where gravity is suspended for a moment while art institutions deform and dance in the wind before the air goes out of them. Melting State, 2020

The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005

*KAOS* is an interactive iPad app created in collaboration with poet Ursula Andkjær Olsen. KAOS, 2012

Each scanning session lasted approximately 30 minutes and included conversations between pet owners and the artist about their animals. The Kolding Creature, 2021

We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025

One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019

For me, these are not just errors, but moments of strange beauty and surplus meaning. Speaker 1, 2026

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

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

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

Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014

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

None of These Images Are of Me
None of These Images Are of Me See the work →