Sing The Body Electric, a new digital and immersive art exhibition, opens in Bristol at the end of October, showcasing sensory works that explore the physical and emotional connection we can have with certain forms of digital creation. It is also, and above all, the first exhibition of a new venue, Undershed, housed in the heart of Watershed, Bristol’s iconic cultural space. A review with Amy Rose, Undershed’s new programmer.
Cover: Sing the Body Electric (Collection 1) opening @ Watershed, 📸 Shamphat Productions
From Anagram to Watershed, from new media production to cultural programming
Amy Rose – I originally came from the world of documentary film. I branched out into new media after meeting May Abdalla through mutual friends, and she became a close friend with whom I discussed film, creation and new ideas. That’s how we founded Anagram in 2013 – and the adventure began in Bristol at the Pervasive Media Studio, Watershed! And the adventure began in Bristol, in residence at Pervasive Media Studio, Watershed! We began by producing DOOR INTO THE DARK, which immediately became a real hit at festivals and indicated the path Anagram would take to the present day – IMPULSE: PLAYING WITH REALITY being the studio’s latest production to date.
A. R. – It’s from these years of experimentation, production and, above all, accompanying works to festivals and exhibitions, that I felt the need to explore the idea of hosting productions over the long term – to directly tackle the challenges of cultural programming in a dedicated space. The notion of space has become essential today for digital creation. And for me, it also meant opening up to other studios, other creators and direct access to the public.
A. R. – Three years ago, almost to the week, I was sitting in the cafe/bar at Watershed with Jo Lansdowne, the executive producer of the Pervasive Media Studio, and Mark Cosgrove, the head of cinema programming, talking about opportunities to promote digital artists and their work. At that time BFI had started investing in this kind of work, and there was a real appetite for it. Opportunities were rare, and it was easier to travel to Europe or other continents to exhibit them. And it wasn’t a problem of public interest, or a lack of interested venues. The reason is, you have to create a real link between the programming of these venues and the artists, and the means to host the works.
A. R. – The opening of Undershed is part of a growing trend in Bristol and the UK to support immersive creation. Funding has been announced both for a national commissioning programme led by UWE, who are one of Watershed’s academic partners (Immersive Arts) and for the development of a national immersive network of venues – with partners in Belfast, Glasgow, Nottingham, Liverpool and Cardiff. The aim is to strengthen cooperation at national level and to support digital artists over the long term. The UK is already fortunate to be home to some of the most creative XR studios, including Marshmallow Laser Feast, Anagram, Darkfield, No Ghost and ScanLAB Projects. More global support means we can envisage distribution cycles, with a network of venues involved, and greater cohesion to organize tours around the works… and ultimately bring them closer to our audiences.
Creating Undershed, the immersive gallery
A. R. – The conversation with the Watershed team initiated a slow process of research and development, where we explored what this could be, what kind of space we wanted to create together, who would come, what work we would show, and what values would guide us. We asked all those questions about the feel of the space, the materials, the art, and the engagement strategy. Over the course of three years, it was a gradual process of securing funding, tearing down walls, building partnerships, curating work, and engaging with artists. I’ve been involved from the very beginning. It feels good to invest time, energy, and love into something that feels so meaningful.
A. R. – It’s been important to me from the start that we don’t see Undershed as a space just for showing VR. It needed to be a space that is technology-agnostic, where we focus on high-quality interactive and immersive artwork, regardless of the medium. This could mean anything from a sound piece to an intriguing projection, VR, or even something that takes you outside the building. What really interests me is what the audience is being asked to do – how they are engaged, how they are invited to move, think, or behave. It’s about the invitation and the offer, and showcasing pieces that do this in a brilliant, artful, or completely original way.
A. R. – In our first exhibition, Sing the Body Electric (Collection 1), for example, we only have one VR piece. The rest includes an interactive installation, a two-channel film piece, and an unusual interactive sculpture that uses various new technologies. It’s more about creating an artful invitation rather than just presenting a shiny new tech, white plastic and metal space. We wanted to create a sense of fluidity, where things evolve and change over time. The idea is that you could come and see something, and then return a month later to experience something entirely different—similar to how cinema operates. We aim to create a mental link for people, from the cinema screen to this other way of experiencing stories.
A. R. – Next year, we have several plans. We’ll be showcasing work from Anagram and ScanLab, and we’re building programs around specific themes and questions. One upcoming theme will explore our relationship with earth and land, among other ideas we’re developing. Everything we do is led by ideas, focusing on bringing work that we find interesting and relevant to our audience, and considering how these pieces connect with each other. We aim for an approach that is driven by concepts rather than technology.
Sing the Body Electric – Collection 1 & 2
A. R. – When I began developing themes for the gallery, the body was always going to be the first focus. In my work with Anagram and in my own experience, I’ve found that this type of artwork excels at engaging the body, which sets it apart from cinema. When May and I were learning how to create this kind of work, I was consistently amazed by pieces that spoke directly to my body, giving me experiences that felt entirely different from anything else I had encountered. This quality of experience felt essential, as it made me understand my own body and others’ in a distinct way.
A. R. – The first exhibition explores this concept – embodied experience. It’s about what it feels like to move and interact physically, whether with your hands, arms, or through other movements. Other art forms don’t engage the body in the same way. This exhibition is a way of showing people that this type of artwork is particularly powerful; it invites them to fall in love with it, to see how it offers a unique perspective or understanding.
More keynotes on the Watershed Youtube channel
A. R. – For example, works like Vincent Morisset and Caroline Robert, VAST BODY, or Yeseul Song, INVISIBLE SCULPTURES, only come to life through physical participation. They demand that the audience engage, and I think that’s brilliant. These works don’t exist without the audience; they require them to function, and the only way to truly grasp them is through direct experience. That’s often the challenge with immersive work—you can’t really describe it; you have to try it.
Navigating the immersive creativity
A. R. – When I think about the XR industry, it encompasses a wide range of work that we might not necessarily see at Venice or similar festivals. We have to keep our perspective broad and pay attention to various spaces because, if XR is about exploring new possibilities enabled by tech developments, then people are experimenting with it everywhere. Film festivals aren’t always the best places to gather all of that work. There’s VR that I find interesting and some that I don’t; there are also artists working in different contexts using similar tools but in unique ways. For me, the research process involves looking far and wide, seeking out those who are really engaging with questions of interactivity, audience involvement, and collective experiences. These are the same questions being tackled by those making VR, but they’re approached differently in other spaces.
A. R. – I think the field is vibrant, but you have to cast a wide net. When I was in Venice, I spent time on the VR island and saw some intriguing work. I was particularly interested in some early-stage projects from the Production Bridge, and I also appreciated more developed pieces like IMPULSE – which, admittedly, I’m quite biassed about. I also visited the Biennale and the UK Pavilion, where filmmaker John Akomfrah had a piece with multiple panels that viewers could walk through, moving through various images. It was an immersive experience, absolutely. I was fascinated by how this mode of working with multiple images, space, and sound is spreading across different silos in the art world.
A. R. – To me, that’s exciting, as it indicates more cross-pollination. It’s inspiring; if you’re creating VR, you shouldn’t just be looking at VR. The immersive sensibility is present in many places, and there’s so much to learn from these diverse approaches.
How to build immersive exhibitions at Undershed
A. R. – Unlike some immersive venues that invest in the most advanced sound systems and high-tech equipment from the start, we’ve taken a different approach. We’ve built a space with a welcoming area for onboarding and offboarding that remains consistent, and we have an exhibition space with lighting. Beyond that, we’ve designed structures that are modular – easy to dismantle, rebuild, and rearrange. We have the basics in place, but we haven’t purchased much technology because we’re being cautious not to lock ourselves into showing only certain types of work.
A. R. – Since technology evolves so rapidly, investing heavily in one system, like a bunch of Quest 3s, would quickly become outdated – people would soon be asking for the latest Apple headset, for instance. Instead, we’re working with partners, renting equipment, or borrowing what we need. This allows us to remain flexible and experimental, almost like an R&D approach, while still delivering a polished final product. I’m not sure if others in the immersive exhibition space are taking this route, as many seem to invest heavily upfront.
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