Curated Choice #9: The Caretaker’s Room
by Kevin Kafesu
For the ninth edition of Curated Choice, Enter Art Fair invites Copenhagen-based creative Kevin Kafesu to curate a selection of artworks around a deeply personal and universally resonant theme: emotional labour.
Curated Choice #9:
The Caretaker’s Room
by Kevin Kafesu
For the ninth edition of Curated Choice, Enter Art Fair invites Copenhagen-based creative Kevin Kafesu to curate a selection of artworks around a deeply personal and universally resonant theme: emotional labour.
Titled The Caretaker’s Room, this online exhibition pays tribute to the quiet, often invisible work of holding space for others – whether in families, relationships, communities, or professional settings. Inspired by reflections on his own life and the unwavering support he witnesses in those around him, Kafesu invites us to consider what it means to be the one others depend on, and what it costs to show up again and again.
Through submissions from Enter’s participating galleries, the exhibition brings together works that speak to themes of emotional weight, fatigue, personal rituals, quiet rebellion, and restoration. The Caretaker’s Room becomes a space for recognising the resilience, tenderness, and quiet strength of caretakers in all their forms.
KEVIN KAFESU
Kevin Kafesu is a Zimbabwean-born, UK-raised, and Copenhagen-based creative, and currently serves as Senior Culture Marketing Manager within Global Brand Development at The LEGO Group.
His relationship with art has evolved across continents and life stages, from early sketching in Zimbabwe, to discovering conceptual contemporary art as a teen in Birmingham, to collecting works by emerging artists today. In Copenhagen, his engagement with the local art scene has deepened through meaningful conversations, exhibitions, and friendships that continue to shape his perspective from both inside and outside the institution.
Rooted in street culture as much as in formal design and storytelling, Kevin believes that art, like care, should be democratic, emotionally resonant, and accessible to all.
KEVIN KAFESU
Kevin Kafesu is a Zimbabwean-born, UK-raised, and Copenhagen-based creative, and currently serves as Senior Culture Marketing Manager within Global Brand Development at The LEGO Group.
His relationship with art has evolved across continents and life stages, from early sketching in Zimbabwe, to discovering conceptual contemporary art as a teen in Birmingham, to collecting works by emerging artists today. In Copenhagen, his engagement with the local art scene has deepened through meaningful conversations, exhibitions, and friendships that continue to shape his perspective from both inside and outside the institution.
Rooted in street culture as much as in formal design and storytelling, Kevin believes that art, like care, should be democratic, emotionally resonant, and accessible to all.
For full list of works including prices, please find the Curated Choice #9 here
For full list of works including prices, please find the Curated Choice #9 here
Luca Bjørnsten
Caretaker’s Parade, 2025
Wax pastel on paper
29,7 x 42 cm
Caretaker’s Parade imagines the humble shopping trolley as something more than a tool of errands. Lined up neatly beneath a cheerful sky, they suggest quiet endurance, maybe even pride. It’s a gentle reframe of the everyday task – where the act of showing up, again and again, becomes its own quiet kind of ceremony.
Photo courtesy of Albert Contemporary
Nina Silverberg
Myth, 2024
Oil on wooden panel
25,5 x 20,5 x 2 cm
Photos courtesy of Alzueta Gallery
Silverberg’s paintings are marked by their quiet energy, muted palette and often small scale. Characterised by both a solitary stillness and an implied intimacy, she examines ideas of isolation, sickness and the relationship between interior and exterior worlds. Following a prolonged period of illness in her early adulthood, the artist’s subjects frequently include timeless signifiers of human care and comfort. Sick beds serve as analogous self-portraits; silhouetted structures act as architectural archetypes of the Mediterranean home; gloves personify a fashion-forward approach to protection or precaution; and, most recently, books embody an escape to that inviting inner realm. At once melancholic and reassuring, they suggest an inherent frailty and offer empowerment as a coping mechanism against our contemporary condition.
Sinead Breslin
Fluoride Free Water, 2024
Oil on canvas
180 x 200 cm
Autobiographical themes commonly appear in Breslin’s work. We see a tranquil female figure breastfeeding next to an abstract portrayal of a swimming pool, the water is fragmented into various colours, reflecting the nature of water and spectrums of light. Perspective and formal elements are broken down into layers that seem to be almost at risk of falling apart at any moment. Sailing boats float across the background like ghosts, and the greyhound motif, a metaphysical reference, seems to represents a protective force.
Jon Erik Nyholm
Untitled (Verdant Fade II), 2024
Oil on canvas
100 x 90 cm
Photo courtesy of Bricks Gallery and the artist
Pauline Fransson
Kantzonen (The Edge Zone), 2024
Tempera, oilstick and oil on canvas
150 x 120 cm
Photo courtesy of Bricks Gallery and the artist
Sune Christiansen
Øjeblik/Moment 1, 2025
Oil stick, oil, acrylic, dry pastel and charcoal on canvas
Waxed oak frame
110 x 80 cm
Photo courtesy of Bricks Gallery and the artist
Peim van der Sloot
FrederiksbergHave, 2025
Sticker collage on Hahnemühle paper
100 x 70 cm
Peim van der Sloot’s latest works are inspired by the beautiful trees and parks in Copenhagen. Peim says about this: “In this series of works I pay tribute to the rich history of pointillism, a technique that was made famous by old masters such as Seurat. When I cycle through cities I discover in the parks the echoes of the iconic works that I had once seen in art history books. The way the light falls between the trees, the glow of the twilight at sunset, the fleeting beauty of nature in an urban context – this became my inspiration.”
“With my characteristic round stickers as ‘dots’ I work in the tradition of pointillism, where each dot forms a small fragment of the whole. Each work is a snapshot of the city, recognizable to anyone who has ever walked or cycled through the streets and parks of Copenhagen.”
Nanna Riis Andersen
Ryg Bærer Skuldre, Bærer Huset, Bærer Tre og Rod, 2023
Watercolor on paper in custom frame with UV-glass
75 x 55 cm (unframed), 88 x 69 (framed)
Photo courtesy of Formation Gallery
A soft shoulder, a white shirt, a back turned away.
This intimate watercolour captures a moment of pause—perhaps rest, perhaps retreat. The title, Ryg Bærer Skuldre, Bærer Huset, Bærer Træ og Rod (english: The Back Bears Shoulders, Bears the House, Bears Tree and Root), speaks to the layered weight of caregiving: physical, emotional, and ancestral. The fabric shows subtle traces of use, wear, and holding. As viewers, we stand just behind the figure, in the quiet presence of someone who carries more than we can see. The work gently asserts that even the strongest backs need stillness.
Siri Vittrup
Tekanden, 2024
Oil on canvas
100 x 90 cm (unframed)
Photo courtesy of Formation Gallery
Layered like memory and richly textured, Tekanden (Teapot) by Siri Vittrup evokes the quiet rituals that help us endure. With motifs that shift between domestic still life and dreamlike abstraction—pots, cups, flowers, patterns—the painting becomes a visual sanctuary: a space for healing, for slowness, for sensing. Created as part of the exhibition Parfume, the work draws on the emotional resonance of everyday objects. The teapot becomes more than a vessel—it is a container of warmth, of memory, of shared time. Here, care is not loud or dramatic, but woven into color, texture, and repetition. A quiet act of presence.
Christian Lemmerz
Torso, 2025
Bronze
Unika
97 x 56 x 34 cm
Photo courtesy of Galleri Franz Pedersen
Lemmerz’ Torso is a fractured yet dignified body – a modern ruin echoing both fragility and endurance. Cast in bronze, the piece invokes the silent toll of responsibility and the stoicism inherent in emotional labour. Its fragmented form and imposing presence make it a powerful visual metaphor for the unseen weight of being the one others rely on.
Else Fischer-Hansen
Composition, ca. 1942
Oil on canvas, pineframe
35 x 30 cm
Runo Lagomarsino
Nobody Forgets Nothing (II), 2025
Stamped ink on paper
Paper Dimensions:
150 x 197 cm | 59 x 77.76 in
Framed Dimensions:
161,3 x 207,7 cm | 63.5 x 81.8 in
“Nobody Forgets Nothing” (2025) is a series where Runo Lagomarsino repeatedly stamps the phrase “Nobody Forgets Nothing” onto paper until the words layer and fade into an almost unreadable texture. This repetition reflects the tension between remembering and forgetting – the way memories can both persist and dissolve over time. The work explores how language acts as an unreliable witness, with meaning shifting as the phrase becomes a dense, intricate surface. It’s a meditation on memory’s fragility and endurance, showing that even when details fade, the emotional weight of the past remains beneath the surface.
Tove Storch
Untitled, 2022
Porcelain and plexiglass
11,5 x 41,5 x 22,5 cm | 4.53 x 16.34 x 8.86 in
Tove Storch’s artistic project can be viewed as a continuous investigation of sculptural possibilities. Her works challenge the viewer’s perception of space and reality, posing questions about what sculpture is and what it can do. Combining a tight minimal expression with delicate, fragile materials, her works give physical shape to complex reflections on form, time, and space. Her mode of expression is positioned between the strictly formal and something directly connected to the body and emotions.
Zhou Yi
Passenger, 2021
Acrylic on canvas
70 x 70 cm
A quiet figure leans back in a green car, eyes closed — neither fully awake nor dreaming. There is no clear action, only thick air and the heaviness of stillness. ‘Passenger’ reflects the burden of simply being present: holding space for others, while quietly stepping back to breathe.
As caretakers, we often exist in between — soft, tired, watching. The work asks: where does support end, and the self begin?
Camilla Iliefski
Growing, 2025
Handtufted in wool and flax
125 x 145 cm
Moved by a desire for more materiality and to work with the body, Camilla Iliefski decided about fifteen years ago to combine her graphic production with textile works made using the hand-tufting technique.
Iliefski’s artistic practice is intuitive and process-based. She knows in which direction she wants to go, but does not have a precise idea in mind. She is guided by what the materials and colours suggest to her and is not afraid of slow and painstaking work. In the extremely dynamic landscape of contemporary textile art, her creations stand out for their soft shapes and subtle chromatism.
Miwa Ogasawara
Stillstand, 2009
Oil on canvas
180 x 150 cm
Copyright The Artist
Courtesy of the artist and Tom Reichstein Contemporary
Metehan Özcan
Things we keep, things we remove, 2023
Archival Pigment Print on Hahnemühle 200 gr Matt Fibre
94 x 94 cm
2/3 ed + 1 AP
versusartproject.com
In his work titled ‘Things we keep, things we remove’ (2023), Özcan examines the blurring line between the public and the private through the lens of hotel rooms. Hotel rooms are spaces that are transformed into private areas each day by erasing the traces of the previous guests. This constant erasure of memory forms the very essence of the service a hotel room provides: a flawless whiteboard where everything belonging to previous subjects has been wiped clean.
