Björk.fr – Site francophone dédié à Björk : musique, clips et actualités

Maison Margiela

pierro — 2026-08-23T15:55:37Z

Escarpins blancs avec talon cylindrique en bois de 8cm faits en Italie et en cuir nappa.
Les mêmes que ceux portés lors du début de la tournée Cornucopia mais sans la plateforme.
Introuvables ou déjà vendues pour l'instant sur les sites de revente, elles sont disponibles sur le site officiel mais en noir https://www.maisonmargiela.com/fr-f... .
Björk les porte lors de plusieurs rappel de Cornucopia lors de la fin de la tournée.

Björk les a également en beige, disponibles sur ce lien pour 730€.

Echolalia - Exhibition catalogue

aifol — 2026-08-18T09:26:11Z

Titre : Björk | James Merry
Éditeur : National Gallery of Iceland
Langues : islandais et anglais
Contributeurs : Ingibjörg Jóhannsdóttir, Pari Stave, Hólmar Hólm, Oddný Eir. Avec la réédition des entretiens : Björk et Hans Ulrich Obrist, et Björk et Ocean Vuong.

168 pages - Date de parution : 31 mai 2026
Prix : 11 900 ISK (environ 85 €)
Commander

La Galerie nationale d'Islande publie un catalogue richement illustré, réalisé à l'occasion de deux expositions : Björk – Echolalia et James Merry – Metamorphlings, présentées au musée du 31 mai au 4 octobre 2026.

Il comprend une interview menée par l'écrivaine et poétesse Oddný Eir qui explore le croisement des collaborations créatives entre les deux artistes autour de la construction conceptuelle d'un « monde » dans les albums les plus récents de Björk.

interview en anglais

James Merry : I always found it funny when articles appeared online calling me "Björk's mask-maker", because at first it was always just like this little side quest that I would do at night ... We were doing so many other things at the time, and we also lived together for long periods over the years... The masks emerged more like a bonus, an overnight fruit of our work together during that day. So, it never came from some burning desire to be a mask-maker ... More like a natural product of our friendship and working life.

Björk : We were in New York preparing the MoMA show with curator Klaus Biesenbach ... And I went downtown to a geological shop, found some rocks, and made very simple masks from them. I just put a rubber band on and fabricated it in a clumsy way. We were staying together, and then one morning, I came to the kitchen, and he was sitting there and had not slept at all, just been working on the Moth mask, doing what he thought I wanted to do but couldn't do myself, so beautitul.

James Merry : It was the first live performance of Vulnicura, so there was this added pressure to really get it right... Then on the subsequent tour, it became this sort of game to try and make something new for each show with only a few days between. I remember when we were in Slovakia, she told me about this idea to have lines radiating from her vocal cords. I rushed out to a market and began pleating all this fabric I found using the tiny hotel iron, finishing it in a taxi on our way to the concert hall.

Björk : I remember when we were in a hotel in California and I shared with you the world of Utopia, flutes and animals in a very mutant energy, very sci-fi feeling, how optimism survives post-apocalyptic patriarchy ... I was talking about how the skin could bloom flowers and James went into a shop in Los Angeles and watched some DIY-videos and for two days he was making silicone plants in his bathtub, which he had never done before. And in this very glamorous hotel where Marilyn Monroe once stayed, you locked yourself in the bathroom day and night, endlessly experimenting.

It is maybe like this do-it-yourself style, but nobody would do it so beautifully as James, really high class.
And we would connect in this DIY. James comes from a home that is very DIY and our grassroots organization Smekkleysa/Bad taste is all about that, and based on the feeling that we've got everything we need, nothing is missing, nobody is specializing or stuck in one role, we just jump from one section to another to let things happen. Yes, we harmonize in that philosophy.

James Merry : I remember when Björk told me that embroidery was a strong textural element on her album Vulnicura, and I was immediately so excited about it. I had embroidered a bit in my twenties and thought, ok, perhaps this is somewhere | could finally contribute something with my own hands... of course, her instinct, it was the perfect way of dealing with the wound, stitching it together.

Björk : A heartbreak is such an extreme state. All you want is just to heal. I became obsessed with embroidery.
Sewing things together. My friend is going through a similar period now, and I just want to give her the secret code to go through the pain fast. The emergency in Vulnicura was expressed with neon yellow, and this lilac healing balm. The color lilac represents cure for me. And a big part of it was corresponding to the person I was breaking up with, this elevated elegance, like Victorian style ... You need to go to that level, to remember and then get over it, not to be stuck in the shit show in the basement. You need to get to a higher frequency. Also, because you have children, you don't want the mess to land on them. You try to make a creative space.

James Merry : I've always enjoyed this vibrant period when you are in between album worlds ... When you haven't completely defined where you're going next, but there is often a sudden hunger for a color or texture that takes on a strange intensity for a brief period but does not then end up in the new album. Like the bright red you craved after Vulnicura, before you went into the peachiness of Utopia, and I put some red over the electric yellow masks from Vulnicura and made some other red masks for this time, to transition between worlds...
[..] I would say the masks are less about this Venetian carnival spirit, but more like a biological blurring between categories ... Between the technological and the handmade, plant and human, rock and animal, and whatever else, deliberately all smudged together a bit.
They were never meant to completely obscure Björk, more like to blur her edges and bring other archetypal aspects into focus. I think it taps more into this queer mentality meeting ecology-spirit.

Björk : I also feel that the representation of all genders the last few years is not a coincidence. We are harmonizing with our true nature. It's not about whether I'm heterosexual or not, my work is quite queer and has always been. That's my family tree, that's my clan, you know. That's the people who come to my shows. It's also about this refusal to be categorized. And also all age groups, generations together and all kinds of music lovers, jazz listeners with others [...]. It's also about the woman in the patriarchy, you go to the funeral as a widow with a black lace over your face, elegant but also in a punk fuck-it way, you cannot categorize me. Also, taking yourself off the heterosexual grid. Unclockable.

We were discussing the 20th century of Albert Einstein and the atoms, the cause and the effect. And now in the 21st century, we are discovering the magnetic energy, the solar winds, the hormonal system, all things magnetic that are more about vibration than the cause and effect of the elements on the periodic table. Now we are in quantum physics and biology, finally, my century ! We survived the 20th century, when the artist was a hero with a thousand assistants. Now we're in a more matriarchal energy, with less hierarchy and more organic structure.
[..] What you describe makes me think about the possibility of being extroverted and introverted at the same time. The mask is like a tool for being extroverted when you're in fact introverted, in situations where you have problems with communication, you don't want to share this very personal thing, but you want to share something else, the essence of it. Then the mask is very empowering, like it escapes judgement, gives space for speculations before judgement.

When I was younger, I was never too self-conscious about the symbolic nature of my work ; it was simpler, like the pink and orange and techno-flowers world of the album Post, for example. It wasn't until later that I became more self-conscious about it, after reading hundreds of psychology books. As a collaborator, it can be easier to use recognized words and concepts to explain and unify each album into a single world. Tell the sound engineers, photographers, video artists, and everyone the same story. I don't have an ambition to become a visual artist ; it's more that I am interpreting my music into a visual version, from the ear to the eye, like developing a film in support of sound. With motherly protection, I have formed a strong muscle to read my unborn album with closed eyes. Reading in the dark, you feel the shape of it, even if you cannot describe it yet with words. But when I manage to do that, without the ego, of course, it becomes something universal. We got such good feedback from Vulnicura, for example. It's not about me anymore ; it's like an emotional location or coordinate, which is psychologically true.

Sometimes the most abstract thing is the more autobiographical. Like when I got this energy meltdown in Australia, and | did those high-energy piano arrangements on my laptop. Suddenly I'm over-sharing the state of my fatigue with very fast piano music...
Sometimes it's not in the lyrics.

James Merry : It's like there is a little dynamo inside. And it is, of course, contradictory that, in hiding, you make yourself far more visible. The masks make you stand out much more. I think it's that weird back-and-forth energy of hiding and revealing that gives a mask this power.

I'm so curious about your reaction towards people who have had that reaction to the masks, shouting at you to take off the mask, because they want to see your face.

Björk : For me, it is not so literal. I feel I've always tried to include both myself with and without masks. The theatrical and the casual. For example, when I DJ at the record shop Bad Tast, I am usually not wearing a mask, and I'm very close to people, so it's not about hiding my face. But then, in the same month, for example, I will do a theatrical concert wearing a mask. I've always had both, hidden and not hidden.

***
Un essai de l'écrivain Hólmar Hólm revient sur l'évolution du travail artisanal et du design de Merry au cours de la dernière décennie, en s'intéressant aux origines et aux sources d'inspiration des significations que l'on peut trouver dans ses masques, ses ornements corporels et ses objets rituels.

Des extraits d'une conversation entre Björk et le poète Ocean Vuong offrent un aperçu de la manière dont la créativité permet d'explorer les profondeurs émotionnelles de la perte et du deuil. Une autre discussion, entre Björk et le commissaire d'exposition et historien de l'art Hans Ulrich Obrist, révèle et aborde l'étendue des différents médiums que Björk a explorés au fil du temps.

Vogue

aifol — 2026-08-14T06:19:12Z

Arriving in Iceland is always a bracing reminder of the power of Mother Nature. But going straight from the plane to Björk's museum exhibit, followed by a geothermal dip at Sky Lagoon, and then onto the nearby festival that attracted fans (and fashion designers) from near and far to dance under a midnight sun was another experience altogether.
On Wednesday, at Víðistaðatún, a sculpture park in Hafnarfjörður just outside Reykjavík, thousands gathered for Echolalia, a one-day festival timed to one of nature's rarest spectacles—and the first total solar eclipse visible from Iceland since 1954.

There are few artists for whom a total solar eclipse would be seen not as an astronomical event, but as a creative brief. So when the moon passed directly between the Earth and the sun over Iceland on August 12, Björk did what Björk does : She threw a rave, and wore one of her most memorable looks since the swan dress. (A bold statement, we know.)

As wind and rain swirled and the speakers boomed, Björk and longtime collaborator Arca took to the decks for trippy sets spanning deconstructed global club music, Latin rhythms, samba and reggaeton given the industrial treatment, with flashes of baroque and experimental electronics. There were appearances from Icelandic artists Ronja Jóhannsdóttir and electronic trio Sideproject, while the occasion also celebrated 40 years of Smekkleysa (or Bad Taste), the defiantly independent Reykjavík collective and record label entwined with Björk's earliest works.
Amongst Björk's fervent fans, we spotted Alexander McQueen's creative director Seán McGirr, Loewe co-designer Jack McCollough (in town for his birthday), jeweler Marco Panconesi, and journalist Ronan Farrow taking in this sensory overload of the highest order : fashion, music, art and technology all competing for attention beneath a rapidly disappearing sun.

While the solar phenomenon may have been a once-in-a-lifetime occurrence, Björk has been consistently turning out phenomenal looks for four decades now, notes Pari Stave, curator of the Björk exhibition currently occupying the National Gallery of Iceland until September. “Transforming the body is part of her creative exploration through worldbuilding,” she told Vogue ahead of the rave.

On Wednesday, that worldbuilding was (quite literally) bigger than ever. Björk performed in a customized version of Robert Wun's amorphous balloon couture creation, adapted from the Hong Kong-born, London-based designer's fall 2026 collection, and shown in Paris just weeks earlier. Wun says Björk and her team zeroed in on the look immediately. “They weren't even considering anything else,” he recalls. “It was just : It's going to have to be this one.”

Another quality made the outfit unusually appropriate for an eclipse : its impermanence. “The beautiful aspect of it is that it's not meant to last,” Wun says. And in a country where the tempestuous weather has little interest in accommodating fashion, perfection was never the objective. Björk's camp, Wun recalls, embraced the possibility that balloons might burst mid-set : “Even if some of them pop, it's part of the performance.”

Enter his expert British helium artisans, London Balloon Company's Leila Holmes and The Balloon Stylist London's Fiona Eagle, who flew into Reykjavik days before to build the look. Together, they estimate they used nearly 700 white balloons of various sizes blown up to near translucency (sourced from a specialist in Italy, no less) to further customize it to Björk's needs as rave ringleader.

The work was not without risk. The duo mentioned backstage to Vogue that moments before Björk took to the stage, a balloon did burst. But they quickly blew up a new one and affixed it as the sky fell to mid-eclipse darkness, while Björk encouraged them with seconds to spare. Talk about the show must go on. Or as they say in Icelandic, “Þetta Reddast !” (Don't we all need a national mantra that translates as, “It will all work out ?”)

Björk's longtime stylist, Edda Gudmundsdottir, was less amused. “Who would have thought balloons could be such temperamental divas ?” she said the next morning, admitting she now felt like a deflated balloon herself. But it was all worth it in the end. The stylist says she personally envisioned “the sense of wonder you feel when you look up at the clouds and let your imagination wander. Robert's balloons brought this incredible sense of fantasy and celebration to the moment.”

Indeed, as Björk bounced around on stage, resembling a high fashion ode to the hookah-smoking caterpillar from Lewis Carroll's Alice in Wonderland, the playfulness and joy of her ensemble sent the crowd into a frenzy. For Wun, the absurdity of elevating the humble party balloon to haute couture was precisely the point. “Everything can turn into craft, as long as you take it seriously,” he says. “Instead of embroidery or beautiful tweed, it could be rubber and balloons.”

The symbolism was difficult to miss. Total solar eclipses have inspired awe, fear, and myth-making across civilizations precisely because they disrupt something we experience as immutable : daylight. The familiar suddenly becomes alien. Shadows sharpen, temperatures drop, the horizon changes, and the sun appears to vanish before returning. Here in Iceland, the land of the midnight sun, the effect transformed this rain-soaked community into a sort of coven, complete with shocking pink protective eyewear by Port Tanger.

Transformation, of course, is also the lingua franca of Björk's creative universe. Across town at the National Gallery of Iceland, Echolalia makes that process physical. One of the four galleries belongs to another member of Björk's merry band of creative co-conspirators : James T. Merry. His accompanying Metamorphlings (on till October 18) brings together more than 80 works spanning embroidery, metalwork, jewelry, 3D printing and the fantastical masks he has created for Björk over more than a decade.
Merry resists drawing neat boundaries around where Björk's ideas end and his begin. “Björk has such strong conceptual and visual impulses, particularly in building the worlds and characters around her albums,” he says. “It becomes more like a shared trajectory orbiting around something, rather than a straight line.”

“Everything comes from Björk,” says Gudmundsdottir, who is careful to stipulate her role is to help realize the artist's vision rather than merely adorn her. “She thoughtfully connects music, fashion and visuals to create a universe that is diverse, yet all in harmony. Every performance look has to relate to the story she is telling musically.”

There is a lovely full-circle quality to Wun's participation, too. His earliest memories of Björk are inseparable from Alexander McQueen, whose collaborations with the musician helped demonstrate to a young Wun how potent the relationship between fashion and music could become. “What she created with McQueen is also what got me into fashion—to be in this field in the first place,” he says.
Now, his own ephemeral work has entered Björk canon. “If anyone could actually connect all of these elements together,” Wun says of couture, the eclipse, and Iceland's striking landscapes, “it could only be Björk herself.”

Mosha Lundström Halbert

Robert Wun

pierro — 2026-08-13T15:12:14Z

Avant dernier look de la collection Couture Automne/hiver "Childsplay" présentée au Dôme de Paris le 6 Juillet 2026.

closing chapter of the collection features two looks submerged with over 300 customised balloons, an extension from the suited-bodies, an illustration of the childhood that we all still carry deep within, and just like balloons, beautiful and joyous, yet fragile and not meant to last.

Plus d'info sur Robert Wun surla page de sa première robe portée par Björk.

Björk sous l'éclipse : retour sur la rave Echolalia

aifol — 2026-08-13T09:47:35Z

Pour son après-midi Echolalia, mercredi 12 août en Islande à l'occasion de la première éclipse solaire totale visible depuis 1954, Björk s'est une nouvelle fois fait remarquer avant même de passer du son, dans une spectaculaire robe ballon signée Robert Wun.

Détaillée dans un article de Vogue, il s'agit d'une version personnalisée d'une robe de la collection automne 2026 du créateur, présentée à Paris quelques semaines plus tôt.

Wun raconte que Björk et son équipe ont immédiatement arrêté leur choix sur cette silhouette. « Ils n'envisageaient même rien d'autre, se souvient-il. C'était simplement : ce sera forcément celle-ci. »

Lorsque Björk est apparue sur scène, après quelques péripéties en coulisses avec des ballons qui avaient éclaté, sa silhouette aussi spectaculaire qu'espiègle a immédiatement électrisé le public.

Côté musique, elle a ouvert son set avec Richard Strauss et le célèbre morceau associé au film 2001 : L'Odyssée de l'espace. La suite a navigué entre musique expérimentale, avec notamment Dark Arc Ascent de David Kykes, musicien américain pionnier du chant harmonique / overtone singing, notamment connu pour Hearing Solar Winds (1983), et ses artistes habituelles dont Marina Herlop et a diffusé des titres issus des recents albums d'Arca et Kelela

Björk a également choisi, comme à son habitude, des artistes africains avec Boti Gembi, originaire d'Afrique du sud dont la musique s'inscrit dans le Tsonga Electro, le producteur Serokolo 7 (musique électronique très rapide autour de 180 BPM) et Asmaa Hamzaoui, figure de la musique gnaoua marocaine. Et pour faire monter la température, un titre remixé par mum sing de Machine Girl a apporté une dose de techno abrasive, sans oublier les percussions chamaniques de HWXXNG, le nom de scène de Jaeho Hwang, artiste basé à Berlin, qui réinterprète des instruments traditionnels coréens.

Voir cette publication sur Instagram

Une publication partagée par bjork.fr (@bjorkfr)

Une playlist fidèle à ses goûts, mais avec des nouveautés !

Seul bémol : la pluie et les nuages ont empêché le public d'apercevoir directement l'éclipse totale. Mais pendant quelques minutes, le ciel s'est assombri, plongeant la fête dans l'obscurité.

Selon un journaliste de Rolling Stone Italia, présent en Islande pour couvrir l'événement et qui a pu glaner quelques informations sur place, le prochain album de Björk pourrait sortir en septembre 2027. Une information qui reste, à ce stade, à prendre avec des pincettes.

Echolalia party

aifol — 2026-08-07T09:48:19Z

Björk (dj) (setlist non exhaustive)

– Richard Strauss - Also sprach Zarathustra, Op. 30 : l. Prélude
– Takayuki Hattori - 聚楽第
– David Hykes, The Harmonic Choir - Arc Descents
– Sho Madjozi, Double Zuksh - Zamaleky
– Asmaa Hamzaoui, Bnat Timbouktou - Bala Yourki
– Serokolo 7 - Bonkoko Bagana
– Machine Girl - Down to the Essence (Mun Sing Remix)
– Boti Gembi - SWINYENYANI
– HWXXNG - Cyber Shamanism
– Arca - Rakatan
– Arca - Finisher
– ptasinski - freaked out - RJ Pasin remix
– Kelela - if we meet again
– Marina Herlop - Jaque
– Toxe - Pillow Fight
– Hanne Lippard, Ellen Arkbro, Hampus Lindwall - Unavailable
– Rosàlia - Berghain remix Conrad Taylor

Arca (dj)
sideproject
33EMYBW
Knackered
Ronja
Gummi Arnalds
LOSCABALLOS
Kaitlyn Aurelia Smith

Le 12 août 2026, Björk et d'autres musiciens investiront le parc de Víðistaðatún, à Hafnarfjörður, en Islande, pour Echolalia, une rave organisée à l'occasion de l'éclipse solaire. Pendant plus d'une heure de phénomène céleste, dont 1 minute et 4 secondes de totalité.

La programmation réunira notamment Arca et les artistes islandais Sideproject et Ronja Jóhannsdóttir, tout en célébrant les 40 ans de Smekkleysa, collectif et label emblématique de la scène islandaise.

Björk : Echolalia

https://open.spotify.com/playlist/0gWp1hRSRoWi1PtwWzp5g3?si=hVDJDsnMSB-GXEb_Eqi65A&utm_source=copy-link&pi=kOve-MDHRBWTy

Björk à propos de la nature comme source d'espoir

aifol — 2026-08-07T09:26:17Z

Où trouve-t-on aujourd'hui l'espoir ?

« Définitivement dans la nature. Même si je vis dans une ville européenne cosmopolite comme Reykjavik, j'habite au bord de la mer et j'essaie de marcher une heure tous les deux jours environ. Toutes ces épidémies de notre époque — l'isolement, la solitude, l'usage excessif du téléphone — j'ai l'impression que si vous pouvez simplement marcher une heure, elles ne vous sembleront pas aussi terribles. Je ne dis pas que cela peut résoudre tous les problèmes du monde, mais peut-être 60 % ! Ensuite, vous pouvez vous occuper des 40 % restants… c'est là que je trouve mon espoir. »

Dazed->7871], juin 2026

Björk à propos de l'utilisation de l'AI

aifol — 2026-08-07T09:20:20Z

« Nous aurions simplement pu appuyer sur un bouton avec l'IA et créer cela en une minute, mais nous avons choisi de ne pas le faire », explique-t-elle. « Cela nous a pris huit mois, et chaque petite scène a été réellement travaillée et conçue sur mesure, comme un modelage. Je ne dis pas que la solution à tous les problèmes liés à l'IA est de passer huit mois sur quelque chose pour que cela devienne acceptable ! Ce que je veux dire, c'est qu'il faut y mettre du sens. Globalement, l'IA n'est pas si performante : il faut l'observer, la modifier, la déplacer pour obtenir quelque chose d'intéressant. »

Dazed, juin 2026

Björk à propos de la technologie

aifol — 2026-08-07T09:15:16Z

« Avec les humains et les outils, le but premier a toujours été de prolonger ce qu'ils sont, d'exprimer ce qu'ils ressentent », explique Björk. « Au début, tout était maladroit : vous aviez un couteau, la roue, le feu, peu importe ce que c'était, puis cela est devenu plus raffiné et plus complexe. C'est aussi ça, la technologie : au départ, elle est maladroite et il faut traverser la question morale, la question de la justice, celle de savoir si elle possède une âme, puis trouver une manière d'y insuffler du sens. Nous traversons toujours cette prophétie catastrophiste du type : “Oh, il n'y aura plus jamais d'âme !” Mais je pense que nous devons tous trouver notre réponse au fur et à mesure. »

Dazed, juin 2026

Björk à propos d'elle-même

aifol — 2026-08-07T09:08:37Z

« Je suis aussi atypique qu'on puisse l'être, j'aime les choses irrégulières et les nombres premiers »

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