The recent Reykjavik Arts Festival presented a remarkable array of creative endeavors, moving beyond typical visual and auditory experiences to embrace a richer, multisensory engagement. This year's event prominently featured the art of scent, alongside captivating installations, musical performances, and thought-provoking exhibitions. The festival served as a vibrant platform to highlight the unique artistic spirit of Iceland, blending ethereal beauty with surreal elements and profound cultural narratives. From olfactory journeys crafted by renowned artists to immersive soundscapes and historical tributes, the festival curated a diverse program that captivated attendees and celebrated the depth of Icelandic and international artistic talent.
Among the festival's most unique offerings was a special scent installation by Fischersund, a family-led creative collective featuring Jónsi from Sigur Rós. This immersive experience, located within a greenhouse in downtown Reykjavík, filled the air with evocative aromas described poetically as "freshly cut grass," "sun-warmed sidewalks," and "distant parties." The Fischersund shop further extended this olfactory journey, displaying bespoke perfumes and incense, alongside Jónsi's intriguing "perfume organ." Additionally, a live scent concert provided an innovative fusion of aroma and music, with Faux Flora No. 1, a fragrance inspired by "pearlescent pale seedlings," being diffused among the audience.
The National Gallery of Iceland hosted significant exhibitions dedicated to iconic artist Björk and her collaborator James Merry. Björk's presentation featured immersive installations designed to envelop visitors in the world of three of her songs, including "Sorrowful Soil" and "Ancestress" from her 2022 album, Fossora. These installations utilized multi-speaker arrangements and video projections to create profound auditory and visual experiences. James Merry's accompanying exhibition showcased his fantastical masks, many of which were created for Björk, drawing inspiration from ancient pagan figures, Celtic symbols, and the unique flora of Iceland. His work, extending beyond Björk, also included collaborations with figures like Tilda Swinton and Iris van Herpen, demonstrating his broad artistic reach.
Further enriching the festival’s program was a retrospective of German conceptual artist Karin Sander at the Reykjavík Art Museum. Sander, who began her association with Iceland in 1993, presented a thought-provoking collection of works. Visitors were invited to place their personal belongings in vitrines, turning them into temporary exhibits, while a large wall installation cataloged adjectives from her Wikipedia entry, reflecting on her artistic identity. A particularly ambitious piece involved machines designed to scan visitors and produce 3D-printed plaster models, aiming to create a collective sculptural portrait of Reykjavík in 2026, capturing the essence of its contemporary population.
Music formed a crucial component of the festival, featuring three concerts by artist-in-residence Hildur Guðnadóttir, known for her acclaimed soundtrack work on films like Tár and Joker, and the series Chernobyl. Performances at Harpa, Reykjavík’s iconic concert hall with its Olafur Eliasson-designed facade, included an ensemble rendition of her album Where to From, illuminated by Theresa Baumgartner’s ethereal lighting. Another concert in the majestic Hallgrímskirkja church showcased compositions for choir and organ, blending classical grandeur with modern artistry. Additionally, viibra, a flute septet originally formed for Björk's 2016 tours, presented Venutian Wetland, transforming the traditional sound of flutes into an avant-garde linguistic experience through their tightly choreographed and chaotic performances.
Beyond the urban centers, the festival extended its reach to the remote Westfjords, where the Samuel Jonsson Art Museum hosted a compelling exhibition. This museum preserves the legacy of Sólon Íslandus (Sölvi Helgason), a self-taught 19th-century folk artist whose life and work, marked by eccentricity and resilience, are reminiscent of characters from Halldór Laxness's novels. Despite legal troubles for forging a travel pass that extravagantly praised his qualities, Íslandus created delicate and fantastical drawings, some made while he was on the run or imprisoned. The Icelandic band Mógil dedicated an album of songs to him, further celebrating his unique contribution to art. The "Resonance" exhibition at the museum further integrated works by artists from Listvinnzlan, a studio supporting artists with disabilities, adding contemporary sculptures and paintings that harmoniously blended with Jonsson's original creations, showcasing a heartwarming dialogue between different artistic generations and styles.
This year's Reykjavik Arts Festival successfully demonstrated a commitment to pushing artistic boundaries, offering audiences an immersive and thought-provoking experience. Through its diverse programming, ranging from innovative scent installations and interactive exhibitions to powerful musical performances and tributes to artistic heritage, the festival provided a comprehensive exploration of creativity. It fostered a dynamic dialogue between different art forms and celebrated both established and emerging talents, leaving a lasting impression of Iceland's vibrant cultural landscape.