From Screen Symbol to Playable Art – Why Chess Is Becoming a Contemporary Aesthetic Language

It is almost impossible today to watch a major film or series without encountering a chessboard somewhere in the frame.

What once served as a discreet symbol of intellect and strategy has evolved into a recurring visual motif in mainstream culture. From "The Queen's Gambit" to recent productions dedicated to figures like Judit Polgár or Garry Kasparov, chess has re-entered the public imagination not only as a sport but also as an image.

But something deeper is happening.

Chess is not just shown.
It is being reconsidered.

Chess as Visual Code

Cinema and advertising have long embraced chess because it is instantly understandable. A chessboard needs no explanation. Black and white. Conflict and order. Calculation and risk.

For decades, chess served primarily as a metaphor—a silent indicator of intelligence and tension. Directors placed it between characters to suggest psychological rivalry. Brands used its geometry to signal foresight and control.

But over time, attention shifts from the symbol to the object.

The board itself becomes visible.

From symbol to object

Chess is increasingly treated not as a prop, but as a design element.

In cities like Paris, communities such as the Blitz Society have redefined chess as a cultural gathering rather than a purely competitive activity. In Berlin, chess events attract designers, architects, and creative professionals. The atmosphere is often more reminiscent of an art opening than a club tournament.
At the same time, chess sets are appearing in boutique hotels, curated interiors, and concept spaces. They are staged, illuminated, and positioned as part of the spatial identity.

The board is no longer hidden in a drawer.

It occupies space.

An artifact of the analog world

This renewed visibility coincides with a broader cultural shift.

We increasingly live through screens. Work, communication, and entertainment flow through digital interfaces. In such an environment, physical objects take on a new meaning.

Chess is one of the clearest artifacts of the analog world. It has weight, resistance, and proportion. A move is not a click, but a gesture. A piece must be touched, lifted, placed.

There is a profound difference between watching a game online and setting up the pieces on a physical board. In a culture of constant scrolling, chess requires silence.

It's not nostalgia.
It's material presence.

Beyond Heritage

Europe has long preserved the game of chess through museums and collections. Traditionally, these emphasized its history and rarity.

The current change feels different.

Projects like David Llada's "The Thinkers" or Stev Bonhage's "Captured," developed in collaboration with FIDE, reposition chess within contemporary visual culture. Global Chess Festival , held at the Hungarian National Gallery, places the game in an explicitly artistic context.

Chess is not just archived.
It is curated.
And increasingly, it is being designed.

The spatial turn

When designers engage with chess, its geometry begins to enter the architectural dialogue. Materials are re-evaluated. Proportions are refined. The presentation becomes deliberate.

Even traditionally horizontal boards are being reinterpreted. Projects that explore wall-mounted chessboards, like those by ChessboArt , create a subtle "wow" effect – transforming the game into a vertical presence in the room. The board becomes both playable and sculptural.

Here, chess transcends mere decoration.
It becomes a spatial statement.

More Than a Revival

Is this just a trend?

Perhaps partially. But the persistence of chess across media, design, and cultural events suggests something more lasting.

Chess has evolved from a metaphor to a tangible commodity.

From background symbol to intentional object.

From screen image to playable art.

In a digital age, it is one of the most sophisticated artifacts of the analog world – simultaneously intellectual, tactile, and aesthetic.

Chess is not just played.
It is increasingly being designed.

Joachim Rodriguez y Romero

Owner and Managing Director of Kunstplaza . Publicist, editor, and passionate blogger in the fields of art, design, and creativity since 2011. Graduated with a degree in web design from university (2008). Further developed creative techniques through courses in freehand drawing, expressive painting, and theatre/acting. Profound knowledge of the art market gained through years of journalistic research and numerous collaborations with key players and institutions in the arts and culture sector.

www.kunstplaza.de