– Karim Noureldin, contemporary artist

Can a work of visual art be experienced as sound? For Karim Noureldin, it can. The Swiss artist creates abstract works that guide the eye across the composition like rhythm in music, revealing new details the longer they are viewed. Noureldin describes this as “a visual sound,” an idea rooted in drawing and reflected across works shaped by line, color, surface and space.

Noureldin’s “Brea” (2025) will be presented to view digitally as part of the new Art Basel in Basel 2026 Collection. Available exclusively on Samsung Art Store, the collection presents 24 works by Swiss and Switzerland-based artists represented by eight galleries participating in the fair. “Brea” was chosen for its distinct color palette and use of bold pattern, both central to Noureldin’s broader practice. Samsung Newsroom spoke with Noureldin about drawing, abstraction and what changes when art is experienced at home.

The Sensory Language of “Brea”

▲ “Brea” (2025) reflects Noureldin’s interest in line, color and rhythm, creating what he describes as “a visual sound.” Photo by Finn Curry, courtesy of the artist and von Bartha.

Q. “Brea” (2025) is part of the Art Basel in Basel 2026 Collection on Samsung Art Store. What can you share about the process behind this work?

“Brea” began with the process of drawing as a way to build an imagined space. I created it with pencil because drawing allows me to think, plan, imagine and picture at the same time. I have worked with pencil for a long time and I still see it as one of the most direct ways to begin an idea. The movement of drawing also feels close to writing words by hand.

Working on paper allows me to see a space that is not fully physical yet. I find it easier to create a three-dimensional world in this format than by painting on canvas. This is why drawing has remained so important to me. Its energy has been with me since early in my work as an artist and it is present in “Brea.”

▲ Noureldin works with colored pencil to build spatial density with repeated lines and shifts in color. Photo by Ariel Huber, courtesy of the artist and von Bartha.

Q. How do line, surface and structure work together in “Brea”?

In “Brea,” line, structure and surface are not separate elements. They build on each other. The lines create movement, the surfaces create depth and the structure holds these parts together. Through this relationship, the work can begin to feel like a space the viewer enters through their own perception. The author George Stolz has described “Brea” as creating a kind of spatiality through the way its surfaces come together. I think that is close to how I see the work.

▲ Karim Noureldin’s practice begins with drawing, a medium he describes as a way to think, plan, imagine and picture at the same time. Photo by Ariel Huber, courtesy of the artist and von Bartha.

Defining a Spatial Language

Q. How has your approach to making art stayed the same over time?

My approach has stayed the same through a steady commitment to the work. I studied fine arts, later served as an associate professor at ECAL/University of Arts and Design Lausanne and have tutored younger Swiss artists. Those experiences shaped how I think about art, but they did not change the reason I make it. I still approach each work with the same motivation and focus I had early on. Being able to make art is something I always dreamed of doing and I continue to do it with dedication and gratitude.

▲ Noureldin’s works speak to each other through line, surface and scale. Photo by Finn Curry, courtesy of the artist and von Bartha.

Q. What connects the different forms you work in?

No matter the form, my work applies the same abstract language and creative process to different media. I often think of each medium as a different instrument. The sound changes, but the composition comes from the same place. The works can appear at a small or large scale, within a specific site or as independent pieces. What connects them is the same attention to line, color, rhythm and space.

Q. What does abstraction allow you to do?

Abstraction allows for timelessness and universality. It’s not fixed to one subject or moment. It can remain open, so each viewer can meet the work through their own perception.

“Being able to make art is something I always dreamed of doing and I continue to do it with dedication and gratitude.”

Q. How do you think about the relationship between an artwork and the place where it is seen?

Space and art, as well as artworks and their built surroundings, are inexorably related to each other. Whether a work was created for a specific site, placed within one or simply viewed there, each condition shapes what the work can express and do.

▲ Presented on The Frame at Samsung Art Store’s Art Basel in Basel 2026 exhibition, “Brea” brings Noureldin’s visual language into a digital viewing experience. Courtesy of Samsung Electronics.

How Art Forms Unity Within a Home

“When we have art in our homes, it becomes part of one’s daily life.”

Q. What feels meaningful to you about viewers encountering your work at home through Samsung Art TV?

Living with art brings art back to a private and personal space. With Samsung Art TVs, the work moves from the artist’s studio into a home, where it can be experienced daily rather than only during a visit to an institution. It helps keep visual creativity top of mind for everyone, even if they aren’t an artist.

Q. When an artwork becomes part of the home, what can repeated viewing reveal that might not be noticed at first?

When we have art in our homes, it becomes part of one’s daily life and changes with the conditions around it. Different times of day, different lighting shifts or even moods changing each time a piece is viewed. These small details can change the appearance of a work over time, making it a unified element of the home.

Q. Samsung Art Store will introduce your work to some viewers who may not know your practice yet. What would you hope they notice first in “Brea”?

I would hope they first notice “Brea” as a visual sound. By that, I mean a composition that can be felt through rhythm and movement much like music can be felt without words. Before trying to define it, I hope they spend time with every element of its structure to understand how it can speak to more than one sense.

Samsung Art Store is an art subscription service available on Samsung Art TVs including The Frame, Micro RGB and Neo QLED, offering more than 5,000 works in 4K resolution from more than 800 partners across 117 countries. As Art Basel’s official display partner, Samsung Electronics offers another way to experience contemporary art beyond the fair through exclusive Samsung Art Store digital collections featuring artists from Art Basel’s Hong Kong, Basel, Paris and Miami Beach editions.

To experience “Brea” and the rest of the Art Basel in Basel 2026 Collection, visit a Samsung Art Store on your compatible Samsung TV today.

To buy The Frame, please visit:  https://www.samsung.com/my/lifestyle-tvs/the-frame/

– 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.

— 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.

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.

▲ Hedi Mertens’s Gruppo di quadrati sulla base di un quadrato (1966) shown on Neo QLED by Samsung.

Samsung Electronics, the Official Art TV of Art Basel, today announced the launch of the Art Basel in Basel (ABB) Collection, an exclusive curation of digital art available across Samsung TVs with Samsung Art Store[1]. Representing the most extensive Art Basel collection to date, the ABB Collection introduces 38 curated works from globally renowned artists and galleries—marking a new milestone in Samsung and Art Basel’s mission to bring world-class art to a wider audience.

The ABB Collection stands apart for its emphasis on diversity, with works that span continents, mediums, and voices. For the first time, the collection features representation from an Africa-based gallery, deepening the global reach and cultural richness of the Samsung x Art Basel initiative. Some of this collection will be displayed at the Art Basel, from June 19-22, at Messe Basel in Switzerland[2].

A Curated Vision of Global Expression

Handpicked from over 100 submissions, the 38 pieces in the ABB Collection were carefully curated with a focus on artist diversity, medium variety, and geographic representation. The collection celebrates both emerging talent and established visionaries, aligning with Art Basel’s dedication to championing contemporary art from all corners of the world.

Highlights include:

• Roméo Mivekannin, “Young woman with peonies after Frédéric Bazille” (2023): A compelling reimagining of classical portraiture from a postcolonial perspective.
• Basim Magdy, “An Intergalactic Messenger Teleported us to a Cave Settlement Ruled by Shared Compassion and Humility” (2022): A vibrant exploration of utopian futurism.
• Zandile Tshabalala, “Pink Blossoms” (2024): A powerful portrait celebrating Black femininity and nature.
• Antonia Kuo, “Willo” (diptych) (2024): A striking dual-panel composition that fuses digital manipulation with analog techniques.

The collection also includes works by iconic names such as Jo Baer, Kibong Rhee, and Lynn Hershman Leeson, further enriching the visual and thematic depth of this year’s selection.

Art Cube: An Interactive Hands-on-Experience at Art Basel

▲ Jo Baer’s Untitled (1961-1962) shown on Neo QLED by Samsung.

To further highlight the intersection of art and technology, Samsung will present an interactive lounge titled ArtCube[3] at Art Basel. This immersive showcase will demonstrate how The Frame, MICRO LED, and Neo QLED 8K redefine digital art experiences by displaying artwork—including selections from the Art Basel Collection—with breathtaking detail and depth.

ArtCube invites visitors to engage with the Samsung Art Store’s exclusive collections and freely experience the premium picture quality. Visitors can also make customized portraits of moving art pieces only available through ArtCube’s tailored curation. In addition to the ArtCube lounge experience, Samsung will host a series of panel discussions featuring influential voices from the contemporary art scene, sparking conversations around technology’s expanding role in artistic expression and accessibility.

Strengthening a Cultural Partnership

Samsung and Art Basel have partnered to introduce curated digital collections that began with the 2024 Art Basel Miami Beach, 2025 Art Basel Hong Kong, and now includes the 2025 Art Basel in Basel. Artworks from Art Basel Hong Kong, launched in March, have gained global popularity among Art Store users, ranking them in top 10 most-viewed art pieces[4]. This ongoing collaboration highlights the shared vision of expanding the role of displays as vibrant platforms for storytelling and artistic dialogue.

“With the launch of a new collection in the Samsung Art Store for Art Basel in Basel 2025, we’re thrilled to offer our global audiences new ways to engage with our show,” said Maike Cruse, Director of Art Basel in Basel. Our global partnership with Samsung extends the visitor experience beyond the Messe and into people’s homes—creating new entry points to discover the exceptional artists and galleries that define our flagship fair in Basel.”

Completing a Unique Art Experience on Samsung Art TVs

▲ Lynn Hershman Leeson’s Seduction (1985) shown on Neo QLED 8K by Samsung.

Samsung Art Store offers the best way to transform your TV and elevate your home decor with the perfect piece of art for every season, holiday and mood. You can choose from 3,500+ works of art spanning over 800 artists, including the ABB Collection.

Spanning the Neo QLED 8K, Neo QLED, QLED, The Frame and The Frame Pro, which are powered by Samsung Vision AI for AI-enhanced picture and sound, Samsung Art Store is newly available across the Samsung 2025 TV lineup. These TV models also come with new personalized features that bring users closer to all the shows, movies and sports they love. Across the lineup, Samsung offers more ways than ever to transform TV screens into personalized art galleries.

The Art Basel in Basel Collection is now available exclusively on the Samsung Art Store to all Samsung Art TV users.

For more information, visit www.samsung.com.

About Art Basel
Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong and Paris. Defined by its host city and region, each show is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. Art Basel’s engagement has expanded beyond art fairs through new digital platforms including the Art Basel App and initiatives such as the Art Basel and UBS Global Art Market Report and the Art Basel Awards. Art Basel’s Global Lead Partner is UBS. For further information, please visit artbasel.com.

[1] Samsung Art TV includes MICRO LED, The Frame, The Frame Pro, Neo QLED 8K, Neo QLED, and QLED models starting from Q7F and above.

[2] Event is open to the public from June 19-22, after VIP opening from June 16-18.

[3] Samsung Lounge ‘ArtCube’ is in Halle 1, the main exhibition floor inside Messe Basel.

[4] The information provided is based on the results collected during April 2025.