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Pernille Kapper Williams

@pernillekapperwilliams

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Visual artist
Based in Denmark

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A choreography and arrangement of mute objects

WHILE WE WAIT, 2026

Found object: Aluminum Chair
Overall dimension varies with installation
Courtesy of the artist by @pernillekapperwilliams

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7 months ago

Blast from the past 🏛️…

“579m2 or 0,061m3 or 1m Pile of Unwritten Writings” 2005

An undefined number of sheets of common copy or printer paper are stacked up to the height of a meter. The edges are uniformly aligned, forming an upright cube that simultaneously recalls associations with an
empty pedestal in the exhibition space. The stack is positioned on top of a rectangular, solid black medium density fiberboard resting on the floor. The work illustrates an important recurring motif in Pernille Kapper
Williams’ work, which consists in the impulse to evoke images of potential acts or connections whose communicative effects are realized only through the engagement of each individual viewer. Her text pictures
and sculptures fundamentally critique the desire to understand, to control, to have or own access. She consciously produces tensions between the exhibited artifact, its allusions and the required activity of the viewer. The stack of paper is not just a metaphor for the unfinished project, the as yet ‘unwritten texts’, but also for the pedestal, the potential location of the work, which appears time and again in various works with which the viewer often remains alone. Yet 579m2 or 0,061m3 or 1m Pile of Unwritten Writings, also demonstrates the visual precision of the artist and her exact attention to detail. By stacking the standardized copy paper, the edges become visible in a quantity not usually seen. Only in this pile do their various shades become visible, like the layers of a cake. By doing so, the sculpture exhibits the variations and inexactitudes of the mechanical process of cutting as an esthetic experience. The societal promise of the industrial standard as the final reliable arbiter appears here, like everything else, as construction that sometimes works well and sometimes poorly.

© Text by @soerengrammel * Grammel acted at that time as Artistic Director of @grazer_kunstverein

Presented at Rundgang at @ Staedelschule 2005. Short after at Ursula Blickle Stiftung in Therefore Beautiful curated by @vjmueller Featured in Idealismusstudio curated by @soerengrammel 2008

📸 Staedelschule 2005 © Pernille Kapper Williams / VISDA by @pernillekapperwilliams

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a year ago

Objet trouvé x @djkozeofficial taken in Copenhagen, Dennmark by @pernillekapperwilliams

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a year ago

Untitled (Knob # 2), 2009
Found object: Chrome-plated solid steel
@pernillekapperwilliams
Installation view: Prince at the Forum, Beacon Arts Building, Los Angeles, 2012
Curated by @no_hidden_fees
Photo: Jesse Benson © Pernille Kapper Williams / VISDA by @pernillekapperwilliams

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2 years ago

Prices jump Shares drop, 2025

Polished stainless steel
Ø 4 cm L 40 cm
Courtesy of the artist
@pernillekapperwilliams by @pernillekapperwilliams

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a year ago

Nothing matters, 2006
Mdf, high gloss lacquer
110.5 x 30 x 30 cm
Courtesy of collection Rene Schmitt @rene_schmitt_editions
Installation view: Kapitaler Glanz / Capital Glamour curated by Vanessa Joan Müller @vjmueller for @kunstverein_duesseldorf 2007

Excerpt from Béton Brut, No 2, 2007:

“Manchmal ist die Verpackung besser als der Inhalt und der schöne Schein überblendet das Sein. Die dänische Künstlerin Pernille Kapper Williams greift in ihren oft an Ready-mades erinnernden Arbeiten Gegenstände und Produkte auf, die selbst das Resultat aufwändiger Inszenierungen sind.

…Sie nutzt die Faszination für Oberflächen und ein auf Aufmerksamkeit, Verführung und Verkaufssteigerung programmiertes Design, setzt aber auf subtile Distanzierungen. Statt Waren gibt es Verpackungen, statt Produkte nur deren Namen. Der Modus der Präsentation trägt jedoch entscheidend dazu bei, dass das Flair des Exklusiven erhalten bleibt. Die Warenförmigkeit weicht hier einer Ästhetisierung, die um die Mechanismen der nobilitierenden Präsentation weiß. Denn auch die Kunst lebt von diesem Spiel aus Erwartung und Überhöhung.

…Auch sonst bedient sich Williams' Strategien, die wir aus dem Kunstkontext kennen, um eigentlich alltäglichen Objekten die Aura des Einzigartigen zu verleihen. Einen schmalen Sockel aus einem Museum hat sie mit schwarzem Hochglanzlack gestrichen, bis er selbst zum Objekt mit Schauwert wird (Nothing matters [No. 1], 2006). Einerseits autonome Skulptur, erinnert er auch an ein überdimensioniertes Parfümflakon, eine so genannte Fatice.”

By Vanessa Joan Müller published on the occasion of Kapitaler Glanz • Capital Glamour, Kunstverein Düsseldorf, 2007 taken in Kunstverein für die Rheinlande und Westfalen by @pernillekapperwilliams

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2 years ago

Tears for Fears, 2024
Found object: stainless steel and tissues
24 x 12 x 5 cm by @pernillekapperwilliams

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2 years ago

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2 years ago

New email address 💌 KapperWilliams@gmail.com

Please delete mail@pernillekapperwilliams.com from your address book. Cheers P by @pernillekapperwilliams

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3 years ago

Layers upon layers of make-up

Blending in, 2017
Make-up by 資生堂 @shiseido_japan on canvas
30 x 25 cm
© Photo by Mikkel Kaldal

One of five paintings all part of the Danish Art Foundation public Art Collection since 2019. Courtesy of @statenskunstfond

#資生堂
#日本
#コペンハーゲン
#デンマーク
#現代美術 by @pernillekapperwilliams

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3 years ago

Blast from the past in Kyoto

The Way Things Are, 2016
Found object: Brushed stainless steel (backsplash)
40 cm x 80 cm Thickness 2 mm
Installation view: @kyotoartcenter 2017
Curated by @thorbjorn_bechmann & @andersen800
Supported by @statenskunstfond
© Photo by Thomas Andersen taken in Kyoto, Japan by @pernillekapperwilliams

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3 years ago

Joint, 2024 (details)
Thanks to @statenskunstfond and in specific the previous board members of the Committee for Visual Art at the Danish Arts Foundation for making it possible to develop ideas for some public sculptures

much much more to come

O O O O O by @pernillekapperwilliams

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3 years ago