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By Samsung Newsroom
“Instead of formulating thoughts through words, I compose with layered colors.”
– Athene Galiciadis, contemporary artist
Athene Galiciadis’ work draws its force from the movement of repeated forms. Across paintings, sculptures and installations, the Zurich-based artist uses grids, curves and blocks of color to build a formal language shaped by pattern, material experimentation and references spanning concrete art, design, craft, science and literature.
▲ Athene Galiciadis is a Zurich-based artist featured in the new Art Basel in Basel digital collection on Samsung Art Store. Photo courtesy of the artist. Galiciadis’ “Stillleben (Reflection on Longings and Belongings)” and “Stillleben (Window)” have been selected for the Art Basel in Basel (ABB) 2026 Collection on Samsung Art Store. The works were chosen for their strong use of color and pattern, qualities that translate naturally to the digital viewing experience on Samsung Art Store. Created in partnership with Art Basel, the digital collection features works by Switzerland-based artists from participating galleries and brings contemporary art from the fair to Samsung Art Store subscribers worldwide. Samsung Newsroom spoke with Galiciadis about form, color, the ideas behind the selected works and how digital presentation can bring art into the home.
A Personal Language Through Patterns
Q. Your work has a distinct language of shapes, colors and materials. How did this visual system develop?
I began developing this visual language while studying Fine Arts at ECAL(École cantonale d’art de Lausanne) in Lausanne. At the time, many artists in the Lausanne art scene were working with Neo-Geo aesthetics. I admired the rigor of that language, but I never fully connected with its precision. Rather than adopting it directly, I tried to translate it into something that felt closer to me.
▲ No two hand-painted patterns are exactly the same, with small variations giving Galiciadis’ geometric forms a sense of movement. Photo by Malle Madsen, courtesy of von Bartha Copenhagen. I started working with geometric forms, patterns, repetition and symmetry, but I deliberately embraced the handmade. Every shape was drawn or painted by hand, making it unique and slightly different from the one beside it. The patterns shifted subtly across the surface, not through a predetermined system, but through the small variations that naturally arise from manual repetition.
Q. How do you think about rhythm, variation and change within a composition?
Repetition has always been central to my practice, but I have never been interested in repetition as exact duplication. Because my forms are drawn and painted by hand, no element is ever completely identical to another. A line becomes slightly thicker, a shape shifts, a color changes in intensity. These differences accumulate and create a sense of movement across the surface.
I often think of repetition in terms of rhythm rather than pattern. A pattern suggests a fixed system, whereas rhythm allows for fluctuation, pauses, accelerations and unexpected turns. In that sense, my compositions are perhaps closer to biology than to geometry. They are structured, but never entirely predictable. They repeat, but never in exactly the same way. Over time, this visual language has become more than a tool. I see it as a placeholder for “in-betweenness,” a way to hold ambiguity, transition and multiple meanings at once.
▲ (From left) Galiciadis stands beside her ceramic works, the installation shows how repeated forms create rhythm and movement across the space. Photo by Malle Madsen, courtesy of von Bartha Copenhagen.
Q. How much of a work is planned before you begin and how much is decided through the act of making it?
I usually begin with a very clear image in my mind. I think visually, so many works start as an almost complete mental picture rather than a concept expressed in words. What fascinates me is that the finished work never looks exactly like that initial image. The image has to pass through materials, gestures, scale, time and the realities of the studio. In that translation, things inevitably shift.
I do not see these deviations as mistakes or compromises. On the contrary, they are often where the work becomes most interesting. While the starting point is often highly defined, the final work is always shaped through the act of making. It is a conversation between intention and discovery, between what I envisioned and what the work itself asks for along the way.
▲ Galiciadis often lets her works shift through material, scale and space during the creative process. Photo by Stefan Altenburger, courtesy of Museum Haus Konstruktiv.
Q. Are there certain materials, colors or forms you find yourself returning to over time? If so, what keeps drawing you back to them?
Yes, there are certain forms, colors and motifs that keep returning: snakes, spirals, pinks, triangles, zigzags and many others. I do not consciously decide to revisit them; rather, they seem to reappear on their own, as if they still have something to teach me.
I often think of artistic research as a spiral rather than a linear progression. You engage with something, move away from it, explore other directions and then return to it later. But when you come back, neither you nor the motif is quite the same. Perhaps this is why I am drawn to recurring forms. They become companions in a long-term conversation. Each time they reappear, they carry traces of previous works while opening up new questions and possibilities.
▲ Galiciadis returns to recurring forms and motifs as a way to revisit ideas over time. Photo by Stefan Altenburger, courtesy of Museum Haus Konstruktiv.
The Meaning of “Stillleben”
“The same structures that provide comfort and a sense of home can also become mechanisms of separation and exclusion.”
Q. Your palette often moves between soft pinks, greens and yellows, with darker blues and blacks adding contrast. How do you think about color as a way to shape tension, depth or atmosphere?
For me, color is something deeply personal. I do not approach it primarily as a decorative element or as a way of illustrating an idea. Rather, color is a way of thinking and a form of artistic research.
In many ways, this process replaces language. Instead of formulating thoughts through words, I compose with layered colors. Through this slow accumulation, I search for nuances, tensions and relationships that are difficult for me to articulate verbally. The depth that emerges is not only visual but also emotional and conceptual.
Q. What can you share about the works selected for the Art Basel in Basel 2026 Collection on Samsung Art Store and the moment in which they were made?
This work emerged within a larger constellation of paintings that I was developing simultaneously in the studio. I rarely work on a single canvas at a time. Instead, several works evolve alongside one another, creating a kind of conversation. What appears on one canvas often migrates to another; a color, form, rhythm or idea that begins in one painting may find a different articulation in the next.
▲ From left. “Stillleben (Window)” (2023) by Athene Galiciadis. Photo by Malle Madsen.
“Stillleben (Reflection on Longings and Belongings)” (2021) by Athene Galiciadis. Photo by Andreas Zimmermann. Both works were created within such a process. They carry traces of multiple explorations and conversations taking place across different canvases at the same time. Looking back, I see each work as part of an ongoing reflection on questions that continue to occupy me: belonging, displacement, memory, inheritance and transformation. Rather than offering answers, the painting became a space where these themes could coexist and interact.
Q. How did the title “Stillleben (Reflection on Longings and Belongings)” come to the work and what does it add to the viewer’s understanding of the piece?
The title emerged from two conditions that often feel inseparable. Questions of migration, displacement, in-betweenness, transformation, inheritance and identity run throughout my practice and shape how I understand the world. What does it mean to belong? Who is included and who remains outside? Belonging can offer shelter, care and nourishment, but it can also produce boundaries and exclusions.
Longing is particularly difficult to describe. For me, it is often connected to a desire to bridge a gap that is always present but was never entirely my own. It can be inherited across generations, carried through stories, silences, memories and cultural interruptions. It is a longing for connection, continuity and understanding, while knowing that some distances can never be fully overcome.
The same structures that provide comfort and a sense of home can also become mechanisms of separation and exclusion. For me, “Stillleben (Reflection on Longings and Belongings)”inhabits this space of contradiction. It reflects on the simultaneous desire to belong and the awareness that belonging is never simple, fixed or innocent.
Where Art Finds New Meaning at Home
Q. Samsung Art Store gives people a way to encounter world-class art in the spaces where they live. What interests you about that everyday relationship with artwork?
What interests me most is the possibility of creating an everyday relationship with art. Some of the most meaningful encounters with artworks happen not in museums, but in the spaces where we live and spend our time. When you encounter an artwork repeatedly, it becomes part of your daily life and the relationship deepens over time to become a piece of your memories and personal history.
This resonates with my interest in collaboration, participation and community building. I enjoy forms of access that allow art to enter everyday environments. Through projects such as Actioning, I have explored how meaning emerges through shared experiences and sustained engagement. I see art as something that can create connections and become part of a shared cultural life.
Q. How do you think the experience of viewing art changes when a work becomes part of a home environment?
I think the experience becomes slower and more intimate. In a museum, we often encounter artworks briefly and alongside many others. At home, the relationship unfolds over time and the artwork becomes part of everyday life.
You might notice it while drinking your morning coffee, passing through a room or returning home after a difficult day. Sometimes you look closely; other times it simply exists in the background. Yet it continues to shape the atmosphere of a space.
▲ “Stillleben (Reflection on Longings and Belongings)” (2021) by Athene Galiciadis is displayed on the 2026 OLED TV S95H. The work becomes an ongoing relationship. Meanings can shift over time and details that initially went unnoticed may suddenly become important. As the viewer changes, the work changes too. This reflects how I understand art: not as a fixed message, but as something open that continues to generate new associations.
“Some of the most meaningful encounters with artworks happen not in museums, but in the spaces where we live and spend our time.”
Q. For viewers who may discover your work for the first time through Samsung Art Store, what would you hope they take time to notice?
I would invite them to spend a little time with the work and allow their eyes to wander. At first glance, my paintings may appear structured, repetitive or geometric. But if you stay with them for a while, small shifts, irregularities and transformations begin to emerge.
I hope viewers notice that nothing is ever entirely fixed. Forms repeat, but they also change. Colors overlap, reveal and conceal one another. What may initially seem stable gradually becomes more fluid and complex.
Perhaps most of all, I hope people allow themselves to experience the work without feeling the need to immediately understand or interpret it. Much of my practice is concerned with things that exist between categories: between belonging and displacement, order and unpredictability, memory and imagination. These are experiences that cannot always be translated into words.
If viewers take the time to notice the rhythms, layers and subtle variations within the work, they may discover that the painting is less about providing answers than about creating space for reflection, curiosity and personal associations. I hope everyone can find their own point of entry and build their own relationship with the work over time.
▲ Samsung’s 2026 Art TV lineup offers digital collections of curated artworks through Samsung Art Store.
(From left) 2026 OLED S95H, The Frame Pro and Micro RGB. Samsung Art Store is an art subscription service available on Samsung Art TVs. The service offers more than 5,000 artworks in 4K quality from over 800 artists through more than 80 partners. Available across Samsung’s expanded 2026 Art TV lineup, Samsung Art Store brings curated artwork into everyday spaces through Samsung’s display technology and design.
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By Samsung Newsroom
At first glance, Sun Yitian’s paintings can feel bright, crisp and almost disarmingly familiar. But beneath their polished surfaces is something more elusive — a tension between innocence and artifice, nostalgia and unease. That quality has made her one of the most closely watched voices in contemporary painting today.
▲ Artist Sun is known for her work that reframes mass-produced objects. Credit:© Andrea Rossetti. Following Art Basel Hong Kong 2026, Sun’s “Ken” (2023) is exclusively featured in the new Art Basel Hong Kong 2026 Collection on Samsung Art TVs.1
To mark the occasion, Samsung Newsroom spoke with Sun about her artistic philosophy, her visual language and what inspired this collaboration with Samsung Art Store.
▲ “Ken” (2023) reflects Sun’s distinctive approach to culture. Credit: Sun‘s Studio and BANK.
Painting the Familiar Anew
Q. “Ken” (2023) is featured in this year’s Art Basel Hong Kong collection on Samsung Art Store. What’s the meaning behind this work?
My earlier iterations of “Ken” were all relatively small. This version is the first time I’ve painted him at a large scale — three meters across. I wanted the male figure in the painting to become the object of the gaze.
Barbie’s boyfriend feels very characteristic of our current moment. He has had all roughness and resistance removed. He is handsome, healthy and radiant. But he is empty. Inside, he is just plastic. He exists only as Barbie’s counterpart. I did not want to paint him as a toy, but as a living, beautiful head. When pilgrimage is stripped of traditional faith, it begins to reflect a problem of modernity.
“They were my companions in childhood, and they also carry the imprint of the time we live in.”
Q. Many of your paintings begin with familiar objects, toys or images from everyday life. What draws you to those subjects, and what do they allow you to explore as an artist?
I grew up in China in the 1990s, so I — and most people my age — did not have siblings. It was also a period of rapid economic change, shaped by reform and greater openness to global trade. My hometown, Wenzhou, is known for manufacturing.
As a child, I often visited local factories owned by friends’ families. The assembly lines and showrooms were filled with toys, eyeglasses and such goods ready for export to markets around the world. At home, I spent a lot of time alone with my dolls while my parents were away.
Later, when I was in college, I visited the city of Yiwu, known for its wholesale markets. I was struck by these small everyday objects — their shapes, materials, colors and textures all seemed to carry the atmosphere of a particular era. That experience led me to begin my “Man-Made Objects” series.
In the modern world, objects have become increasingly short-lived. I feel attached to these fleeting things made on assembly lines. They were my companions in childhood, and they also carry the imprint of the time we live in.
Q. What does painting allow you to do with these familiar objects that another medium might not?
Much like the subjects of my work, paint itself is also a material object. In a sense, I use one object — paint — to represent another object through realism. What matters to me is the painting’s physical presence. That is the key difference between a painting and an image of a painting on a screen: the painting exists physically as a real, tangible object.
I care deeply about the concept of painterliness, but I do not want my brushwork to be too expressive or too obvious. I do not want the texture to call attention to itself on the surface. I prefer to let it emerge quietly, in hidden and subtle places.
Where Nostalgia Meets the Present
“As a painter, I know painting is a very old medium. But as a younger artist, I am open to trying new languages and new tools.”
Q. What first drew you to painting as your way of seeing and interpreting the world?
I studied at an art school in Beijing, but painting had already been part of my life since childhood. Over time, through constant practice and repetition, I gradually developed my own artistic language.
When I was little, I loved Shogo Hirata’s fairy tale books and would constantly copy the characters. I was also obsessed with “Sailor Moon” and drew its characters over and over again. I still remember one moment in kindergarten when I drew a princess for my classmates and cut small slits into her dress with scissors. When I held it up to the sunlight, the light came through and made the dress seem as if it were glowing. Everyone was delighted. I think that may have been the moment I realized how interesting drawing could be — and that I wanted to keep doing it.
Q. Your paintings are incredibly precise, but they also leave room for ambiguity and feeling. How do you think about that balance as you work?
Only when the choice of object, the coolness of the brushwork and the objectivity of the viewpoint are pushed to a very high degree of precision can ambiguity and emotion rise within the painting. Otherwise, it would simply be a depiction of an object, without meaning.
▲ “Ken” displayed on The Frame Pro as a part of the Art Basel Hong Kong 2026 Collection on Samsung Art Store.
Q. How have you seen technology shape the way art is made, shared and experienced today — and where do you think that relationship is headed?
New technologies are constantly reshaping the way art is made today. As a painter, I know painting is a very old medium. But as a younger artist, I am open to trying new languages and new tools. That does not necessarily mean bringing them directly into my paintings. Rather, they push me to reflect on what painting means at this moment — what I should paint next, and how I should paint it.
From the Fair to Everyday Life
Q. Samsung Art Store creates a different context for discovering and experiencing art at home. How do you think your work resonates differently on displays than it does in a gallery or museum?
When my work is shown in a more private and intimate setting through a digital screen, it can take on a different feeling from the original painting. That shift is interesting to me because it allows people to encounter the work in everyday life, in a more personal way. On displays like The Frame, viewers can spend time with an image in their own space and notice details they might experience differently in a gallery or museum. At the same time, the original painting still has its own physical presence, so I hope people remain curious to see both. Right now, “Ken” is on view at the Long Museum in Shanghai.
▲ Users can explore a wide range of artworks in 4K quality on Samsung Art TVs. (From left) 2026 OLED S95H, The Frame Pro and Micro RGB.
Q. What interested you in partnering with Samsung Art Store to bring your art into the home, and what do you hope viewers take away from that experience?
I just hope my friends turn on their Samsung TV, see my giant “Ken” and get a little surprise!
Samsung Electronics serves as the official display partner of Art Basel and launches the Art Basel Collections on Samsung Art Store. These curated digital exhibitions are available exclusively on Samsung Art Store and feature artists showcased at four Art Basel venues — Hong Kong, Basel, Paris and Miami Beach. Samsung Art Store brings together more than 5,000 artworks in 4K from over 800 artists and 80+ partners in a single subscription service. Available across Samsung’s expanded 2026 Art TV lineup, it offers a new way to live with art through screens designed to fit naturally into everyday interiors.
Samsung Art TVs include all 2026 models with Samsung Art Store above the M80H, except S90H and S85H. ︎ View the full article
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By Daniel
I’m still dealing with persistent UI lag and bugs on my Samsung S95B, and I’m surprised this issue continues even this year with brand new firmware 1661 and resets.
Symptoms:
Menu interface is slow and laggy, especially in Settings and Home screen.
Scrolling causes stutters or jumps/skips lines in some menus.
Delays when switching inputs, opening apps, or using Smart Hub.
UI gradually becomes less responsive the longer the TV stays on.
What I’ve tried (none of these solved it):
Updated to firmware
Multiple cold boots (hold power button until restart)
Smart Hub reset
Disabled TV Plus, Autorun content, ad services, autoplay previews, etc.
Clean install with only core apps
Factory reset → works for a few days then problem returns
Disconect internet
Only “solution” that works (but temporarily):
Using “Device Care > Memory Cleanup”
It improves UI performance significantly...
BUT only for couple hours
After that, lag and line skipping come back just like before.
So far, this is the only reliable way to temporarily fix the sluggish interface.
Likely cause (based on community feedback):
Tizen OS memory mismanagement (leaks, poor RAM recycling, app bloat)
Possibly related to ad-driven Smart Hub tiles or unoptimized background services
UI lag happens even with no streaming apps open and minimal setup
What I’m asking the community:
Has anyone found a real permanent fix????
Any way to disable Smart Hub completely or force a minimal launcher?
Anyone rollback to a more stable firmware (e.g. 1304, 1430) and fixed this?
Did anyone get Samsung to acknowledge or repair it under warranty?
It’s frustrating to have a flagship OLED 2500$ USD with incredible picture quality, but an TIZEN OS that feels like it’s choking on basic tasks. Hoping for any solutions beyond daily memory cleaning.
On my opinion this is a bad memory using that cause this. Memory because saturated over time.
In all case, Tizen team should redo their homework ASAP.
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By Samsung Newsroom
“Time, memory and history must always be revisited and questioned. Art gives us the freedom to do so without constraint.”
— Basim Magdy, renowned artist
Basim Magdy is a visionary Egyptian artist whose work merges dreamlike imagery with thought-provoking, philosophical narratives. Through layered photography and vibrant, otherworldly visuals, he invites viewers into worlds shaped by memory, myth and speculative futures. Now featured on Samsung Art Store as part of the Art Basel in Basel collection, his distinctive aesthetic brings moments of reflection into daily life.
Magdy’s work reimagines living spaces as portals to imagined futures and poetic memories. Available exclusively on Samsung Art TVs, these pieces blur the line between art and atmosphere to deliver a gallery-quality experience at home. Expert-validated colors reveal every detail of his layered textures and experimental techniques — encouraging deeper engagement and sparking conversation.
Samsung Newsroom sat down with Magdy to explore his creative process and the transformative power of art in everyday environments.
▲ Artist Basim Magdy poses at Samsung ArtCube at Art Basel in Basel.
Partnerships, Presence and Possibilities
Q: How has Art Basel in Basel played a role in your career?
For over a decade, I’ve attended Art Basel in Basel every year — it continues to be one of the most exciting and inspiring art events for me. A recent highlight was having a large-scale photographic work presented in Art Basel Unlimited in 2022.
This year, alongside the presentation of my work at the Samsung ArtCube lounge, I’m exhibiting expanded photography with Gypsum Gallery (Cairo) and paintings with hunt kastner (Prague).
▲ “An Intergalactic Messenger Teleported us to a Cave Settlement Ruled by Shared Compassion and Humility” (2022) by Basim Magdy
Q: What led to your partnership with Samsung Art Store for this year’s Art Basel in Basel?
It happened naturally. I was drawn to the idea of my work existing in a different context — one where it could reach new audiences including those who may not typically visit galleries or museums but who are still curious about art.
Reframing Time Through Art
Q: How did your visual and conceptual style develop into something both surreal and poetic?
It took years of curiosity, experimentation and a desire to create a visual language that reflects who I am. Both poetry and the strange layers of reality have long shaped my thinking. Over time, my style evolved as I explored different artistic tools and mediums. Creating something surreal and poetic has allowed me to propose new ideas and reinterpret familiar ones in unexpected ways.
“Art expresses what can’t be said in words.”
— Basim Magdy, contemporary artist
Q: Storytelling, memory and imagined futures are recurring themes in your art. What drives your interest in these narratives?
I’ve become increasingly interested in how we perceive time. I think that awareness deepens with age — the realization that each passing moment is gone and what lies ahead will be different yet oddly familiar.
Though time is a construct, its rhythms — like sunrises and sunsets — form the backdrop of our lives. History shapes how we understand the past and determines how memories are kept alive — an incredibly subjective process, often told through one point of view.
That’s what fascinates me. It raises questions about what gets recorded and what was deemed unworthy of preservation. What about the countless lives that pass without being remembered or documented? Time, memory and history must always be revisited and questioned. Art gives us the freedom to do so without constraint.
Art Without Rules, Technology Without Limits
Q: Your media include chemically altered film and layered photography. How do you preserve their texture and nuance when translating these physical processes into digital formats for display?
The urge to experiment is what drives me to work across different media. It’s rooted in asking questions and pushing limits. Translating analog processes into digital form is one of those explorations — and with it comes the challenge of maintaining texture, depth and complexity.
▲ Artist Basim Magdy is well known for his fusion of dreamlike imagery with thought-provoking, philosophical narratives.
Q: With technology playing a bigger role in creating and experiencing art, how has it shaped your creative process or your approach to audience engagement?
Technology is evolving constantly, and with it, the way we experience the world — not just art. Today, reality often exists simultaneously in physical space and on screens. In the end, I think my lived experiences — whether encountered in real life or on a screen — inform my art just as much as my imagination does.
For me, art expresses what can’t be said in words. Technology is largely shaped by scientific research that operates within defined rules and systems. Art, on the other hand, is free from those constraints — so when artists engage with new technologies, the results are often surprising.
▲ Basim Magdy experiences the new Art Basel in Basel Collection at Samsung ArtCube.
From Exhibition to Everyday
Q: Your work is now featured on Samsung Art Store and displayed in homes around the world. How does being part of someone’s everyday environment shift your perspective on your art?
It’s humbling. We each experience art through our own lens — shaped by who we are and where we’ve been. I hope my work resonates in ways that invite thought, emotion or a quiet moment of connection. For me, that kind of unspoken, personal response is the most fulfilling outcome.
Q: Samsung Art Store turns a screen into a gallery. How do you feel your work resonates differently in a digital home setting compared to a traditional gallery or museum?
Seeing art in a gallery or a museum is still ideal — but it’s also limited. A piece only exists in one place and not everyone can travel to see it, especially if it’s halfway across the world.
Samsung Art Store offers a more intimate way to experience art. Someone can engage with a piece they connect with at their own pace, free from the limitations of gallery hours or institutional settings. The platform also gives access to audiences who may not have a chance to view my work through traditional means.
Digital representations of art continue to evolve — and so do the ways we engage with them. I look forward to a future where we can project fully detailed images into space and where the digital experience of art might one day include touch, texture or even scent.
“[Through Samsung Art Store, one] can engage with a piece at their own pace, free from the limitations of gallery hours or institutional settings.”
— Basim Magdy, contemporary artist
Q: If someone is encountering your work for the first time through Samsung Art Store in their home, what would you like them to notice or feel?
I hope they experience something that stays with them — whether it’s a thought, feeling or subtle moment of curiosity. The way someone connects to art is deeply individual, and I try not to shape or influence that. It’s more meaningful when that sense of intimacy is preserved.
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By Samsung Newsroom
Samsung Electronics today announced the official launch of its Visual eXperience Transformation (VXT) Platform, a cloud-native Content Management Solution (CMS) combining content and remote signage management on one secure platform. Designed with ease-of-use in mind, the all-in-one solution allows businesses to easily create and manage their digital displays.
“Cloud migration is an unstoppable trend,” said Alex Lee, Executive Vice President of Visual Display Business at Samsung Electronics. “VXT is an innovative step toward this migration in that it makes high-tech signage more readily accessible, no matter where our customers are. But not only is high-tech signage accessible, the content and remote management solutions VXT provides are user-friendly.”
Efficient Cloud-Native Solution for All Business Needs
Samsung VXT is the next evolution of CMS software from MagicINFO, delivering an enhanced cloud-native solution tailored for seamless content creation and management of all B2B displays — including LCD, LED signage and The Wall. VXT streamlines the deployment and updating of software directly via a cloud portal, which eliminates the cumbersome process of manual updates. Registration of devices is designed for efficiency, as well, with a simple 6-digit pairing code that allows for quick and secure setup.
By streamlining digital signage operations and management, VXT offers a versatile solution that meets the needs of any sector, whether it be retail, hospitality, food and beverage or corporate. The solution has already received recognition from prominent partners such as Hy-Vee’s retail media network, RedMedia, which uses VXT CMS to manage a network of over 10,000 Samsung smart signage screens — including the QBR-Series, which has been installed across all of Hy-Vee’s grocery stores and retail locations.
Intuitive Content and Screen Management
Unlike other CMS solutions, VXT is a turnkey solution developed by Samsung that allows users to seamlessly create content and manage screens in one application. It consists of three CMS modules: VXT CMS, VXT Canvas1 and VXT Players, and each module makes content creation and screen management easier than ever:
VXT CMS: Content management is simplified through an intuitive interface that simultaneously handles content, playlists and schedules. The remote management feature allows real-time management of multiple devices. Additionally, robust security features — such as private certificates and allowing customizable security solutions for every business need. VXT Canvas: What You See is What You Get (WYSIWYG)-based creative tools that enable anyone to create content effortlessly and more intuitively with support for various templates, widgets and partner content. Users can create original content with custom and company fonts, as well as templates and images pre-loaded on the system for added convenience. VXT Players: VXT supports Tizen and Android-based players,2 while also managing multiple web elements simultaneously on one screen. Additionally, a web-based virtual screen allows users to easily view and manage their signage deployments.
VXT also combines content, solutions and expertise of third-party system integrators, software developers and content partners to provide users with access to an even broader range of incredible content, specific to vertical use cases, without the need for additional customization or development.3 Some of the notable Pre-Integrated Repeatable Solutions (PIRS) include:
VXT Art: Users can access a diverse library of artwork and photos with just a few clicks, and content from various art museums and galleries can be used across businesses ranging from office spaces to restaurants and beyond. Link My POS: This solution enabled by Wisar Digital allows businesses to use VXT Canvas to pull product data from Point Of Sale (POS) systems, eliminating the need to manually enter data or export data. Link My POS improves overall efficiency and reduces pricing errors, which in turn saves time and money. Ngine Real Estate: This solution developed through a partnership with Ngine Networks lets businesses display properties that are for sale or rent by using VXT to forego re-entering data when connecting directly to their platforms. Ngine Automotive: Cars, bikes and boats can be listed as for sale or rent by connecting directly to business displays, without needing to enter information. Messages can be resumed on social network platforms, as well. This solution has also been achieved by partnering with Ngine Networks.
Seamlessly Control and Manage from Anywhere
By offering compatibility with both desktop and mobile devices4, Samsung VXT revolutionizes content management because it caters to both the advanced needs of desktop users and the convenience required by mobile users. This flexibility allows users to manage their content anytime, anywhere.
Furthermore, VXT is designed to substantially reduce downtime in digital signage operations. Through advanced modular architecture, VXT isolates and minimizes the impact of any potential failures, allowing users to swiftly address disruptions. VXT also comes with an early warning feature, which detects potential issues — such as extreme temperature changes or network instability — and alerts customers before failure occurs. This offers greater peace of mind by allowing users to take preemptive actions or speed up the recovery time.
VXT’s energy management tool offers an at-a-glance view of energy consumption levels, as well. Customers can optimize their energy use based on monthly insights and adjust settings like brightness levels and automatic on/off times accordingly.
Availability
Samsung will hold a global launch event of VXT on January 31 at Integrated Systems Europe (ISE) 2024 in Barcelona. Designed as an omni-channel service, VXT will be accessible through various subscription plans, including both monthly and annual options. Customers can also make offline purchases through existing B2B sales channels worldwide, while online purchases will initially be made available in the U.S. before a subsequent global rollout in 2024. Prospective users can take advantage of a 60-day free trial before subscribing.
For more information on Samsung’s VXT platform, please visit https://vxt.samsung.com.
1 VXT CMS and VXT Canvas supported on Chrome browser only.
2 VXT is compatible with Android devices running Android 10 or higher, and with Tizen devices on Tizen 6.5 or higher.
3 For PIRS partner content, additional subscription payment is required.
4 VXT CMS and VXT Canvas supported on Chrome browser only.
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