The Future of Immersive Art: How Es Devlin’s ‘Screenhare’ Signals a Shift in Audience Participation
Forget passively observing art; the lines are blurring, and increasingly, audiences are becoming integral parts of the creative process. Es Devlin’s latest installation, Screenhare, currently featured within The Vinyl Factory: Reverb at 180 Studios in London, isn’t just a display – it’s a deconstruction, a shared experience, and a glimpse into how artists are rethinking the relationship between creator and consumer. The exhibit allows visitors to literally take a piece of the artwork home with them, a radical departure from traditional gallery settings.
Deconstructing the Screen: A 35-Year Retrospective
Screenhare is built from recreations of Devlin’s sketchbooks, spanning 35 years of her artistic journey. These aren’t polished, finished drawings, but rather the raw, intimate traces of an artist’s thought process – London wildlife, portraits of her children, and countless process sketches. As Devlin explains, the installation offers a window into her creative evolution, a tangible representation of ideas taking shape. Visitors watch a short film, an anthology of her past installation work accompanied by music from her collaboration with Polyphonia, An Atlas of Es Devlin, and then are invited to detach a page from the “screen” itself.
Beyond Spectacle: The Rise of Participatory Art
This act of taking a piece of the artwork isn’t vandalism; it’s the core concept. It’s a deliberate dismantling of the traditional art object, transforming it from a static entity into a distributed experience. This trend towards participatory art isn’t new, but Screenhare exemplifies a growing sophistication in its execution. We’ve seen elements of this in interactive installations and digital art, but Devlin’s approach – using the very blueprints of creation as the medium – feels particularly poignant. It echoes a broader cultural shift towards co-creation and a desire for more meaningful engagement with art. This is a move away from the ‘aura’ of the unique artwork, as described by Walter Benjamin, and towards a democratized, fragmented aesthetic.
The Vinyl Factory: Reverb – A Hub for Audiovisual Innovation
Screenhare is housed within The Vinyl Factory: Reverb, a larger exhibition showcasing the intersection of art and sound. Running until March 2, 2025, Reverb features 17 diverse audio-visual experiences, including works by Carsten Nicolai, Caterina Barbieri, and Devon Turnbull, whose HiFi Listening Room Dream No 1 offers a unique sonic sanctuary. The exhibition demonstrates a clear trend: the future of art experiences is increasingly multi-sensory and immersive. The focus isn’t just on what you see or hear, but on how you experience it. This aligns with research showing a growing demand for experiential entertainment, particularly among younger generations. Eventbrite details for Reverb provide further information on the exhibition’s scope.
From Stage Design to Immersive Environments: Devlin’s Expanding Influence
Es Devlin’s work has long been characterized by its scale and ambition, from stage designs for Beyoncé and Kanye West to large-scale public installations. Her previous collaboration with The Vinyl Factory, BlueSkyWhite (part of the 2021 LUX exhibition at 180 Studios), hinted at this trajectory, but Screenhare feels like a significant leap forward. Devlin’s background in stage design is crucial here; she understands how to create environments that envelop and engage the audience. This skillset is increasingly valuable as artists explore new ways to break down the barriers between performer and spectator.
The Future of Art: Fragmentation, Participation, and the Democratization of Creation
What does Screenhare tell us about the future of art? It suggests a move away from the singular, untouchable artwork towards a more fragmented, participatory model. It anticipates a future where audiences aren’t just viewers, but active collaborators in the creative process. The act of taking a piece of Screenhare isn’t just about acquiring a souvenir; it’s about becoming part of the artwork’s ongoing evolution. This trend has implications beyond the art world, potentially influencing fields like design, marketing, and even education. As technology continues to blur the lines between the physical and digital realms, we can expect to see even more innovative and immersive art experiences that challenge our traditional notions of authorship and ownership.
What are your thoughts on the increasing role of audience participation in art? Share your perspective in the comments below!
