An eclectic blend of music and experimental practice of Bergrún Snæbjörnsdótti, inviting the audience to take part in her performance, made the Icelandic composer the perfect patron of this year’s NeoArte Synthesizer of Arts Festival. Showcasing the trends in the contemporary art scene, this international festival was born out of the passion of four musicians who form the NeoQuartet, one of Europe’s most dynamic ensembles specialising in contemporary music, and as such, NeoArte has its roots in music, visual art, new media, and performance.
This year’s edition took place October 23-26 in the heart of the Polish City of Gdańsk in Galeria Pionova/Café Luis, NOMUS, the Museum of New Art, WL4 Gallery and the historic Old Town Hall. Exploring the festival’s events between these venues invited the audience to encounter diverse extents of art. We talk with Paweł Kapica, the festival’s co-organiser, about NeoArte 2025, this year’s idea, programme, and the city of Gdańsk, where this unusual, multidimensional event found its base.
Monika Juskowiak: This year’s edition is held under the patronage of Bergrún Snæbjörnsdóttir. How did her artistic approach and way of thinking about art influence the shape of the programme and the choice of artists this year?
Paweł Kapica: Bergrún’s artistic philosophy deeply resonates with the essence of NeoArte. Her focus on listening as an act of empathy and her approach to sound as a living, relational phenomenon became a curatorial compass for this edition. We invited artists who, like her, blur the boundaries between sound, space, and presence – creating works that invite reflection rather than confrontation. Bergrún’s influence is felt not only in the repertoire of the monographic concert dedicated to her but also in the spirit of the entire programme, which encourages sensitivity, cooperation, and shared experience.
M.J.: You describe NeoArte as “a radar identifying changes in the contemporary art landscape and a synthesiser of arts”. How does this year’s programme embody that idea?
P.K.: NeoArte has always been a meeting point between disciplines – music, visual art, new media, and performance. This year’s programme amplified that multidimensional dialogue. From John Cage’s classic conceptual experiments to the cutting-edge multimedia installation Absolute Plunder by Marko Ciciliani and Martyna Kosecka’s ritualistic performance Ab Origine, the festival once again became a laboratory of ideas about how art can respond to our time, reflecting both our roots in avant-garde traditions and our mission to explore what’s next, to sense, interpret, and synthesise emerging artistic languages.
“We wanted this edition to be experienced rather than merely attended.”
M.J.: And Bergrún, this year’s patron, is known for merging sound with other phenomena through experimental performance practices. Many concerts were planned as multidisciplinary and participatory experiences. Tell us more about this concept.
P.K.: We wanted this edition to be experienced rather than merely attended. The audience was invited to become part of the artistic process through immersive installations, spatial sound, and performative gestures that dissolve the traditional concert format.
For example, Bergrún’s Agape installation explored the resonance between sound and human connection, while the NeoArte Marathon at NOMUS merged dance, video, and electronics in a continuous flow of experiences. Each event encouraged openness, curiosity, and participation, echoing Bergrún’s idea of art as a living organism.
M.J.: Cityscape is also an organism. And the programme unfolded across various venues in Gdańsk, from NOMUS to Galeria Pionova and the Old Town Hall. How does the selection of these spaces affect the audience’s experience and contribute to the narrative of the festival?
P.K.: Each space has its own story and energy. Galeria Pionova/Café Luis offer an intimate setting for close listening and personal encounters with sound, while NOMUS, the Museum of New Art, provides a vast, contemporary environment for multimedia and performative works.
The historic Old Town Hall, on the other hand, anchors the festival in the cultural heritage of Gdańsk. Moving between these venues allows audiences to experience different dimensions of art, from meditative and introspective to monumental and collective, mirroring the diversity of the programme itself.
M.J.: NeoArte has been expanding internationally, with editions in Oslo and Reykjavik. Have experiences from these international versions influenced the Gdańsk edition this year?
P.K.: Absolutely. Each international edition brought new perspectives and artistic friendships that continue to shape our vision. In Reykjavik, we were deeply inspired by the Icelandic approach to collaboration: fluid, community-driven, and environmentally aware. In Oslo, we explored how architecture and urban rhythm influence the perception of sound.
These experiences have reinforced our belief that NeoArte should remain porous, open to dialogue, cross-pollination, and the circulation of ideas across borders. Gdańsk edition reflects that openness while maintaining its distinct local identity.
M.J.: The festival also serves as a platform for young composers and includes workshops for children. How important is the educational aspect of NeoArte to you?
P.K.: Education is at the heart of NeoArte. We believe that introducing young people to contemporary art, both as listeners and creators, is essential for building an open, empathetic society. Our workshops for children invite them to explore sound in playful, intuitive ways, while programmes like NeoEduArte connect young composers with experienced performers.
For us, education is not a side project; it’s part of the same artistic ecosystem. By nurturing curiosity and creativity from an early age, we’re shaping the future audience and artists of tomorrow.
“NeoArte should remain porous, open to dialogue, cross-pollination, and the circulation of ideas across borders. Gdańsk edition reflects that openness while maintaining its distinct local identity.”
Supported by NeoArte.
