“There’s definitely, definitely, definitely no logic to human behaviour. But yet so, yet so irresistible,” Björk sings in the opening of her aptly titled track, “Human Behaviour.” Perhaps it was this irresistibility that drew the Icelandic musician into an exploratory exhibition with Bottega Veneta.

The exhibition, titled Björk: Echolalia, opened on May 30th at the National Museum of Iceland. It premiered with the featured artist wearing bespoke looks designed by Bottega Veneta’s creative director, Louis Trotter. Throughout the event, three mixed-media installations will be presented, including two intimate written works that memorialize Björk’s mother. Also featured will be Nerve Bloom, a film featuring visuals by painter Natalia Kleszczewska, computer graphics director Natalie Liu, and, of course, Björk.

Among the works presented will be theatrical reinterpretations of two songs from Björk’s 2022 album, Fossora. Set in a remote valley intended to evoke a profound sense of isolation, “Ancestress” draws on ritualistic elements of Icelandic culture as a meditation on heritage, grief, and memory. As part of a broader effort to merge artistic disciplines, Bottega Veneta’s patronage of the work enabled a wider range of creative forms—from cinema to movement—to be woven into the piece.

The second work, “Sorrowful Soil,” takes the form of an immersive sound installation. The piece surrounds audiences with the voices of the Hamrahlíð Choir, distributed across thirty individual speaker channels to create a deeply enveloping listening experience. Together, the Fossora works serve as a grounding presence within the exhibition, offering both audiences and Björk an opportunity to revisit the themes of the album while using them as a foundation for future artistic exploration.

Employing technology to make music more immersive is nothing new for Björk. Her 2011 concept album Biophilia was billed as the world’s first “app album,” released alongside a suite of interactive applications that connected the project’s themes to ideas in musicology and the natural sciences. In 2016, she expanded that exploration with a virtual reality exhibition accompanying Vulnicura. Featuring a series of 360-degree music videos inspired by the album, the exhibition traveled internationally for nearly four years.

At times, Björk’s work can feel as though it operates on a different frequency altogether, one where sound, image, movement, and technology are inseparable. Music alone has rarely been enough to contain her creative vision. That is what makes exhibitions like Björk: Echolalia so compelling. Rather than treating technology as a distraction or a spectacle, the exhibition uses it as a tool for deeper expression, creating an experience that invites audiences not only to listen, but to see, feel, and inhabit the world of the music itself.