In this article, I look at the meaning of scent as art, as exhibited artefact, and as an experience-heightening scenographic agent to create a multisensory whole in the museum. I discuss olfactory art, perfume exhibitions, and scented scenographics using fragrance as communication tools and highlighting the sense of smell as a key factor in the sensory and bodily communication of scented events. In the exhibition Art of Scent 1889–2012 (New York 2013), perfume was exhibited as artwork, stylistically compared to art history. The exhibition Perfume (London 2017) visualized the fragrances in scented scenographies where the stories conveyed by the perfumes where conceptualized. Belle Haleine. The Scent of Art (Basel 2015) exhibited olfactory artworks, among them the smell of fear. This is compared to scented scenographics at play in contemporary visual art at the Göteborg International Biennial for Contemporary Art (GIBCA) 2019. Scent as a bearer of meaning in the museum is fundamentally about communicating through multiple senses – and creating interesting exhibitions. It also conveys, however, new aspects of culture and transforms our understanding of the meaning of scent.

在这篇文章中，我将气味视为艺术、展示的人工制品以及作为在博物馆中创造多感官整体的体验提升剂的意义。我讨论嗅觉艺术、香水展览和使用香味作为交流工具的香味场景，并强调嗅觉是香味事件感官和身体交流的关键因素。在“ Art of Scent 1889–2012”（纽约 2013 年）展览中，香水作为艺术品展出，在风格上与艺术史相比较。香水展览（伦敦 2017 年）将香味场景中的香水形象化，其中香水传达的故事被概念化。贝尔海琳。艺术气息（巴塞尔 2015）展出了嗅觉艺术作品，其中包括恐惧的气味。这与 2019 年哥德堡国际当代艺术双年展 (GIBCA) 在当代视觉艺术中发挥作用的香味布景相比。香味作为博物馆中意义的承载者，从根本上来说是关于通过多种感官进行交流——并创造有趣的展览。然而，它也传达了文化的新方面，并改变了我们对气味含义的理解。