Reykjavík Arts Festival brought together scent, music, installation and performance in a program that highlighted Iceland's experimental creative scene. One of the most distinctive projects came from Fischersund, the fragrance and art collective led by Jónsi and his sisters, which created a perfume inspired by grass, herbs, blackcurrants and summer air. The scent was presented through a greenhouse installation, a studio-shop environment and a live scent concert.
At the National Gallery of Iceland, Björk and James Merry each received dedicated exhibitions. Björk's presentation placed visitors inside the atmosphere of three songs, including immersive sound rooms, red-toned spaces and animated visual works tied to her album Fossora. Merry's companion exhibition showcased masks and sculptural pieces shaped by Icelandic plants, pagan imagery and earlier collaborations with major artists.
The festival also featured Karin Sander's conceptual survey at the Reykjavík Art Museum, where everyday belongings, wall text and 3D scanning technology became part of a collective portrait project. At the Living Art Museum, Open Group presented a video-based installation that transformed sound, movement and space into a layered artistic statement. Elsewhere, the festival honored Icelandic folk artist Sólon Íslandus with drawings and music, while composer Hildur Guðnadóttir led concerts that blended orchestral texture, choir and striking lighting design.
From flute ensemble performances to tennis-inspired choreography and a remote museum dedicated to Samuel Jonsson, the festival connected local heritage with bold contemporary forms. It showed how Iceland continues to frame art as an open field for sensory exploration, collaboration and imagination. In the years ahead, this kind of cross-disciplinary festival model may shape how audiences experience culture around the world.