Reykjavík Art Festival begins on May 22, and while counting the days to it, we took a closer look at the visual identity.

The original logo was designed in 1970 by Kristín Þorkelsdóttir. You can see it on the very first Artfest catalog below.

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In 2004, it got a slight facelift, and the outer forms were removed.

Hanna Styrmisdóttir and Hörður Lárusson rethought the visual identity for the coming four years in 2012, when she took up the position of artistic director and commissioned Hörður as the festival’s designer. They wanted the festival to have a distinct identity, but one that would serve as a non-intrusive frame for the events of the festival. Another aim was to place an emphasis on Reykjavík Arts Festival’s long history by numbering each.

Hörður Lárusson chose a new font (Avenir) to use with the logo and added the year and number of festival, which is always used in all promotional material while advertising it each year. In between the festivals, the logo can be used with the name of the festival without a number.

 

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Atli Þór Árnason designed a new website for the festival, including visuals of all of the program entries. In 2013 and this year, three images were chosen to promote the festival as a whole. You’ll see the festival identity 2013 below.

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This year’s images are based on performances by American composer Annea Lockwood called Piano Transplants. Dating to 1968, the piece is a homage to the first successful heart transplant performed in South Africa in early 1968.

The concept of these performances is linked to the title of this year’s festival: Nicht Fertig / Not Finished. It is a reference to the nature of the artistic process. The photographs are taken by Rafael Pinho.

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Artistic Direction by Hanna Styr­mis­dót­tir
Design by Hörður Lárusson
Website by Atli Þór Árnason
Photographs for “Nicht Fertig / Not Finished” by Rafael Pinho
Text by Julia Schygulla