Rubber thorns, rocky forms and expressive faces defined Cups, a group exhibition featuring limited-edition vessels by more than 30 artists and designers during Copenhagen’s 3 Days of Design festival. Presented at the historic Cafe Sommersko, the exhibition celebrated the venue’s 50th anniversary and its longstanding relationship with contemporary art.
Tableau founder Julius Værnes Iversen curated the project alongside artistic director Liv Vaisberg, founder of Collectible Brussels and co-founder of Design Biennale Rotterdam. Consequently, the exhibition brought together an international roster of creatives whose works explored the cultural and emotional significance of one of the most familiar objects in daily life.
Each participant created a series of limited-edition cups that were displayed across the cafe’s shelves and countertops. Meanwhile, a vintage Citroën 2CV Fourgonnette parked outside served as an additional exhibition space, extending the presentation beyond the interior.
“The cup is one of the most familiar objects in our daily lives, yet it carries an extraordinary emotional and cultural significance.”
“It is an object we use multiple times a day, often without thinking about it, but it is also deeply connected to rituals, hospitality, conversation and moments of pause.”
“We were interested in elevating this everyday object and exploring how much personality, craftsmanship and storytelling can be contained within such a simple form,” he added.
Experimental Materials and Sculptural Forms Challenge Traditional Typologies
While some participants reinterpreted familiar ceramic forms, others pushed the cup toward sculpture and conceptual art. Therefore, the exhibition revealed a wide range of approaches to materiality and design.
Among the most unconventional contributions were the rubber creations of Amsterdam-based House of Rubber, the rocky, geological forms developed by Estonian designer Heiter X and the soft pink vessels created by Rotterdam studio Odd Matter. Georgian designer Ia Kutateladze also introduced intentionally unfinished pieces that questioned conventional expectations of craftsmanship.
Recognizable contributions came from Danish glass artist Helle Mardahl and Dutch designer Richard Hutten. However, many works were developed specifically for the exhibition, including a press-moulded design by Dutch designer Rick Tegelaar and a rope-inspired vessel by Belgian designer Jane Wright.
Elsewhere, Danish designer Jacob Egeberg incorporated the visual language of nuts and bolts into sculptural cups, while Dutch ceramicist Glina3 employed 3D-printing techniques to create distorted floral motifs. Danish designer Carl Johan Jacobsen produced a form that wraps around takeaway cups, whereas Danish artist Cathrine Raben Davidsen introduced haunting faces that transform the vessels into expressive objects.
Additional works by ceramicists Sari Rikken and Giulia Cosenza are stacked into totem-like structures. Meanwhile, Dutch designer Willem van Hooff etched words such as “sorry” and “tired” into his pieces, introducing a more introspective dimension.
Exhibition Explores Ritual, Identity and the Future of Functional Design
“What surprised us most was the sheer breadth of interpretations; we expected to receive beautiful ceramic cups, but many submissions challenged the very definition of what a cup can be,” said Værnes Iversen.
“Some approached it as a sculptural object, others as a conceptual artwork, while many explored unusual materials, narratives and production techniques,” he stated.
“We were also struck by how personal the submissions felt,” he added. “Many designers used the cup as a vehicle for discussing memory, identity, ritual or place.”
Accordingly, Cups demonstrated how functional objects continue to serve as platforms for artistic experimentation and storytelling. Furthermore, the exhibition reflected broader conversations surrounding collectible design and the intersection of craft and contemporary art.
Visitors who purchased a cup during the 3 Days of Design were served coffee in their chosen piece before taking it home. As a result, the act of drinking became part of the exhibition itself, reinforcing themes of ritual and everyday experience.
Following the exhibition’s conclusion, a selection of works remains available on Tableau, extending the life of one of the festival’s most playful and thought-provoking presentations.