Meet art advisor Carola Wiese, art collectors Christine Mack, Frederik Hove and Rebekka Bay, curator Stephanie Cristello, and museum director Marie Laurberg as they share their unmissable Copenhagen spots, pre-fair breakfast rituals, and what makes an art fair truly memorable–from instinctive collecting to quiet moments with public art.
Andersen's booth during CHART 2024. Artworks by Cecilia Fiona
Photo by Niklas Adrian Vindelev
What’s your morning ritual during fair week—any go-to breakfast or routine that sets the tone for the day?
Absolutely: I start my day with a morning stretch in my hotel room, followed by a walk towards CHART. I am an early riser, so I usually fit in some window-shopping along the way before settling into a cosy spot for a hearty breakfast including coffee, tea, eggs and of course, Danish pastries. My all-time favorite is Tebirkes. I love them so much that I bring them home every time I return from Copenhagen, ideally with some rye bread.
I always make sure to have a big breakfast before heading out to the fair. I’m up early and start the day with eggs, bacon, toast, fruit, and plenty of coffee. If I skip it, I get tired and cranky fast. I also keep snacks in my bag, like nuts, dried fruit, or a protein bar, just in case there’s no time to stop for lunch.
My morning ritual is simple: I need coffee. If I go to CC for meetings before the fair, I take my bike on the public boat. Sailing to work is an everyday pleasure for me. It makes me see everything from a new angle, the sea breeze clears the mind, and the open view of the city fosters inspiration.
I don’t really have a fixed morning ritual during art week. But I always start my days the same way—with coffee, a good book, and a bit of breakfast at home. It’s important for me to get a solid, calm start to the day before heading off to the fairs.
I’m really not a morning person, so most mornings start with me waking up slowly—ideally with a coffee in bed—easing myself into the day. A ginger shot, a shower, and perhaps an extra coffee while sitting on a bench on my way. One year, I organised breakfast in the courtyard at Apollo Bar for my entire design team on the Friday of CHART. It was a spectacular way to start the day—it felt like being both in the middle of CHART and a spectator to all the activities.
Since mornings are the only bits of quiet time I get to write during fair weeks, I’ll often set up at a café to make notes and refine my thoughts for a public talk or interview I am giving later in the day. In Copenhagen, I usually pick a spot near Charlottenborg—anywhere I can have a tebirkes or cardamom bun. Nothing too stylish since I don’t want to run into anyone before I’ve had my coffee.
Image of breakfast at Apollo during CHART 2023
Photo by Niklas Adrian Vindelev
Do you have an exercise routine during art fair week?
I’m basically running around all day, from art fairs to gallery openings, and checking out museum shows whenever they’re on. It’s my own little Art Marathon, and honestly, with all that moving around, I don’t even need to work out. That’s my exercise right there!
My exercise is the bike rides around town from the fair to all the great art spaces in the city, who put their best foot forward for fair week. Or I take a swim in the harbor just in front of CC. I think the combination of art and swimming is one of the most enjoyable parts of being in Copenhagen – making it a great place to live, work and visit.
I don’t have a specific workout routine during art week as such. But it is a long and very intense week with many social activities so it’s important for me to remember to take a breather now and then. I make it a priority to squeeze in a good sauna session at Plug-in—to take a moment to breathe amidst all the art and impressions.
Even though I'm really not a morning person, I do enjoy a run in the morning — especially during busy events. Whether it's CPHFW or CHART, a perfect morning begins with a run at Kastellet to energise, and the ideal week ends with a one-to-one Pilates session to wind down.
I just walk everywhere, and then marvel at the step count once I’m on the plane back to the States.
What does a successful art fair experience include for you?
Discovering new galleries and more importantly new artists. For me, that is the single biggest thrill at a fair: coming across a new artist or artwork that moves me and the collectors I work with! Bonus points if the artist is also present!
What I love most about the international fairs is the mix of discovery and connection. I get excited about finding new galleries and artists, but just as much about running into friends, seeing gallery directors I’ve known for years, and catching up with artists who are in town. When all of that lines up, it feels like a perfect fair experience to me.
I love art fairs for two reasons: art and community. From the outside the art world can look very glamorous, but every insider knows that most of the time it’s a lot of hard work. So, I really enjoy these moments when the art community comes together to exchange ideas and share our passion for art. The galleries bring out the best they have, and colleagues from all over the world come to Copenhagen to indulge in everything the city has to offer when it comes to art.
A successful fair experience definitely includes lots of amazing art to look at and a great vibe at the venue. That means plenty of good people from the art world—gallerists, artists, and fellow collectors you can have a good chat with, maybe even a cold draft beer if the sun is out. The weather really makes a difference, too. If Copenhagen gets hit by that magical Indian summer at the end of August, then art week becomes a truly wonderful experience overall.
Being exposed to conversations, works or artists that are new to me.
As an independent curator, I am talking to artists and museum directors about future exhibitions, collaborations, and potential projects—a lot of the shows I’ve done in Denmark have grown out of these conversations. CHART is a great art fair because of its size, the intimacy of the venue, and its commitment to a specific region. It is not trying to do everything, but what it does it does extremely well.
NEVVEN's booth during CHART 2024. Artworks by Sigve Knutson
Photo by Joakim Züger / BARSK Projects
"[...] one of the best art fair experiences is when you discover something new—this is only ever a glimmer, since you’ll see a single work in a sea of others—that strikes some enigmatic chord that reverberates long after the week is over."
Independent curator and author
Image of pamphlet and floor plan for CHART 2024
Photo by Niklas Adrian Vindelev
What’s your advice for someone visiting an art fair for the first time?
Take your time. Ask lots of questions, art dealers enjoy introducing you to an artist’s work in depth. Grab a floor plan, take notes, and enjoy the journey. Bring your most comfortable sneakers, you will thank me later.
Get there early and don’t show up hungry! Comfortable shoes are a must. If there are specific galleries or artists you want to see, make sure you locate them in advance. Grab a fair map and have a plan for making your way through the whole fair. Make it a point to talk to gallery directors so they get to know you—it’s super important for building connections as a collector. And if you spot an artist you love but the work at the fair is already sold, don’t hesitate to ask if there are any additional pieces available. Galleries often have extra works they rotate or can keep you posted on upcoming availability. Take plenty of photos—you won’t be able to keep track of everything you see otherwise. I also make a point to snap pictures of the gallery’s booth sign and the wall label next to any artwork that catches my eye. That way, I can easily recall where each piece came from.
That’s a great question. I think my key advice would be to take it all in at your own pace and understand something very crucial about experiencing art: There is no secret code. We are somehow, in our culture, taught the opposite. But really, art is speaking to you through the senses. So, use the fair to experience different types of work, and be curious about what speaks to you the most. You might be surprised by the answer. And then, of course, have some fun. Art fairs are great for people watching. So, take a moment in the sun to enjoy the buzz and the breeze.
It’s all about seeing a lot! Whether you’re a first-time visitor or a seasoned regular, my best advice is to see as much art as you can. Art fairs are a fantastic place to get a sense of your personal taste in art and to discover all the new things that are emerging.
Don’t try to take it all in, focus on a few galleries, works, or artists.
Seek out the exhibitions within that city—project spaces, smaller institutions, but of course always the bigger museums as well. It’s how you come to understand the context. In Copenhagen, I am looking at the off-site events and whatever is on view, and not just contemporary spaces. The Classical Art museums and collections typically have contemporary installations, often small site-specific encounters, which I find make such an amazing and memorable framework for a show. The Glyptoteket and Thorvaldsens are a must. At least once a year I make time to go to Cisternerne, which is probably one of the coolest venues for contemporary art in the world, and I always tell people to go. It’s what I imagine hosting an exhibition on the River Styx would look like.
Do you always sleep on a big purchase or do you follow your gut?
Yes, I try to tell myself to sleep on it before making any purchase. But I don’t always succeed.
My main rule when buying art is always to follow my gut feeling. I’m driven by passion and collect out of love, so I need to feel that rush in my stomach to know it’s the right piece to buy. That said, if it’s something big or really expensive, I do try to think it over one more time. But in the end, it’s always the love for the art that wins out, and then I just have to own that specific work.
I have only ever made one real big purchase during an art fair. It was during my first time visiting Art Basel Miami. I walked past this huge minimal work from 1961 by American artist Walter Darby Bannard, unknown to me at the time. I remember calling my husband, pacing up and down the fair, telling him that I have fallen in love and that there is no way I can leave the fair without the work. It is still with us.
Saskia Neuman's booth during CHART 2024. Artwork by Pia Ferm
Photo by Joakim Züger / BARSK Projects
Do you seek out specific artists in advance, or prefer to explore spontaneously?
Yes, I usually get the preview PDFs from galleries ahead of the fairs, so I can see if they’re showing any artists I’m already following. It’s also a great way to discover new talent, especially when they’re debuting someone for the first time. I’m always on the lookout for emerging artists, since I often invite them to apply for the residency at the Mack Art Foundation in Brooklyn.
As artistic director of CC, researching artists, doing studio visits, and seeking out new artistic positions is an important part of my job. So, for CHART I like to be very spontaneous and let myself explore. I like to see what the galleries bring and the works they choose to present. In a fair context it is really about the single work – not the curatorial framework or a certain discourse. The gallerists have a very deep knowledge about the artists they work with, so I enjoy hearing their perspective on the work a lot. And if the artist is around, it is a great opportunity to catch up.
It’s a mix of both. Since I’ve worked with so many of the artists in Copenhagen either locally or internationally, we’ll arrange to spend time in their studio in advance—either to catch up or to check in about an exhibition or book we’re in the process of creating. But one of the best art fair experiences is when you discover something new—this is only ever a glimmer, since you’ll see a single work in a sea of others—that strikes some enigmatic chord that reverberates long after the week is over. I usually take this as a sign to follow that initial pique and will delve into deeper research once I’m home in my office in Chicago. This was actually how Sif Itona Westerberg and I started working together. You never know what you’re looking for until it stares you in the eye.
Is there a public piece of art in Copenhagen that you find yourself returning to/looking to experience?
Yes, as a fan of Tal R’s works, I like to fit in a walk to Østerport Station to see his glass panels entitled “The journey begins here”. It’s such a fitting name for a public artwork in a train station. Tal R has depicted family and friends on these panels, and with every visit, I feel like I’m getting to know them better and better. A more classic piece I admire is Bertel Thorvaldsen’s "Asclepius" in Prince George courtyard of Christiansborg Palace. What fascinates me most is how Asclepius holds the healing plant. It’s a symbol of medicine, research, and science paired with the hope of making some ground-breaking discovery. As artists work on developing something entirely new, often without a clear use case, I enjoy the contrast between the mythological figure and the thoughtful artistic expression.
Copenhagen is slowly evolving into a real art city, this also goes for public art. For me, Olafur Eliasson’s "Cirkelbroen" ["The Circle Bridge"] is a piece I keep returning to. It faces the harbour and is a functional bridge, a social meeting place, and a beautiful sculpture – all at once. I worked with Olafur several times on major shows, and he taught me a lot about creativity. To me, his bridge is a very generous addition to the city space. It combines a very clear artistic vision with an openness to public use.
Yes, absolutely. One of my favourite artists is the sculptor Sonja Ferlov Mancoba, and her bronze sculpture "Effort commun" from 1964, which stands by Sortedam Dosseringen here in Copenhagen, is a clear favourite!
Malene Landgreens “Passage” at Rigshospitalet is breathtaking and worth returning to.
Yes—and an unavoidable one. My friend Alexander Tovborg’s stained glass installation at Kastrup [Copenhagen Airport] makes standing in line for customs an actual joy. I love seeing it every time I land.
Olafur Eliasson, Cirkelbroen, 2015. Christianshavns Kanal, Copenhagen, 2015.
Photo: Anders Sune Berg. A gift from Nordea-fonden to the city of Copenhagen © 2015 Olafur Eliasson
Friday night in the courtyard's at Charlottenborg during CHART 2024
Photo by Joakim Züger / BARSK Projects
What are your evening plans - how do you unwind after a full day at the fair?
I love NOT unwinding during the fair days. If I need a quick reset during business hours, I’ll take a speedy tour of the nearby design shops. Danish mid-century furniture, design, and ceramics of the 50s to 70’s are among my personal passions, so I truly enjoy fitting in a little treasure hunt for these in between appointments.
Unwind? What’s that? With so many gallery openings and dinners during the fairs, I don’t want to miss a thing, so I usually only get to rest on the plane back to New York.
This depends on the mood of the day. The Scandinavian white nights are perfect for meeting friends for a drink. There is much talk about love (which I love!) but I think friendship is one of the great and somewhat unsung components of happiness. Cheers to friendship. On some nights, though, the couch is calling, and I unwind with a book surrounded by my family.
The social aspect is a very important part of art week for me. I value good dinners and a glass of wine at a wine bar with my art friends just as much as a whole day at the fair hunting for the next art purchase. I have many good friends in the art world, and the fair week is a great way to see everyone and enjoy time together.
Ideally with a glass of wine and a bowl of pasta, eaten sitting at the bar at Locale 21.
The timing of the fair falls on my birthday every year, so a celebratory and indulgent dinner with friends at Silberbauers Bistro has become a tradition. After that, you’ll find me smoking Princes and enjoying a glass of red wine amid the dark crimson perfection that is Bo-Bi Bar.
"[...] use the fair to experience different types of work, and be curious about what speaks to you the most. You might be surprised by the answer."
Artistic Director, Copenhagen Contemporary
Carola Wiese
Carola Wiese is Senior Advisor at UBS Family Advisory Art and Collecting and works with collectors from Europe, Latin-America, and Asia.
She is providing strategic guidance to collectors on building, managing, and preserving their art collections. With over 20 years of experience in the art world, she brings deep expertise in post-war and contemporary art and a commitment to cultivating lasting cultural value through collecting.
She regularly moderates panels and advises clients globally on art as a passion asset, not a financial one.
Christine Mack
Christine Mack is the founder of the Mack Art Foundation and the non-profit artist-in-residence initiative, The Greenpoint Art Studio.
She serves on the board of the American Friends of Moderna Museet in Stockholm, Sweden, and is a founding patron of the Nordic Art and Culture Initiative at the Buffalo AKG Art Museum. She is Co-Chair of the Collections Council Committee at the Guggenheim Museum and a member of the Chairman’s Circle at the Studio Museum in Harlem. Christine also sits on the Jewish Museum’s Art Acquisitions Committee. Additionally, she is the co-founder of Space2Curate, founding chair of Art of City Harvest, and serves as an art advisor to the Art Initiative at the Child Mind Institute.
Marie Laurberg
Marie Laurberg is Artistic Director/CEO at Copenhagen Contemporary where she recently opened the major group show Soft Robots.
She has curated shows with major artists such as Yayoi Kusama, Olafur Eliasson, and Laurie Anderson, while creating opportunities for younger artists in Denmark and beyond. Founder of the support programme for artists, CC Commissions, and the Beckett-Prize.
Rebekka Bay
Rebekka Bay is Chief Creative Director at Finnish lifestyle brand Marimekko.
Prior to joining Marimekko, Rebekka was Global Creative Director at Uniqlo’s Innovation Center, Head of Product at Everlane, and EVP Creative Director at GAP. She gained global recognition as Creative Director at COS during its first five years. Rebekka studied fashion at Design School Kolding and Art History at Aarhus University.
Rebekka has always referenced art, architecture, and design in her work, growing up with her photography father, who at the same time worked for Museum Jorn. Rebekka’s earliest memories are spending after-school-time surrounded by artists, art, and books.
Photo by Rasmus Weng Karlsen
Frederik Hove
Frederik Hove is an art collector and also appears in the Danish TV2 series Hvem Byder Bedst.
He collects Danish contemporary art – from Tal R, John Kørner and Per Kirkeby to emerging names like Frederik Næblerød, Emily Gernild, Mads Hilbert and Simona Popovic – as well as Danish Golden Age works by artists such as J.Th. Lundbye, P.C. Skovgaard and C.W. Eckersberg.
Photo by Julie Vöge
Stephanie Cristello
Stephanie Cristello is an independent curator and author based in Chicago, IL.
Her writing has been published in ArtReview, BOMB Magazine, Elephant Magazine, Frieze Magazine, Mousse Magazine, OSMOS, PIN—UP, and Portable Gray, where she is Editor-at-Large. She was a Curatorial Advisor to the 2020 Busan Biennale (South Korea), and Guest Curator at Kunsthal Aarhus (Denmark) and the Malmö Art Museum (Sweden) 2020–21. She is the author of Theodora Allen: Saturnine (Motto, 2021), Sustainable Societies for the Future (Malmö Art Museum, 2021), and Barbara Kasten: Architecture and Film 2015–2020 (Skira, 2022). In 2020, she was awarded a publication grant by the Graham Foundation.
Photo by Evan Jenkins
