To access this page or service, you need to be a member of the SHAREX Project.

Pour avoir accès à cette page ou ce service, vous devez être membre du projet SHAREX.

SHAREX Project’s objectives are to demonstrate to curators and professionals how to conceive, develop and broadcast their digital exhibitions with ease and efficiency. The WallMuse digital exhibition app features both digital rights management and a strong protection of contents, as well as multi-screen encrypted downloads or streaming. Case studies were made for an insitu situation: The Digital Museum; and outside of their physical locations:  The Digital Biennale; Artistic and Cultural Education; Health and Elderly Care; Municipalities; Hospitality and Transport; Offices and Homes.

SHAREX Project’s proposed initial rules:

  1. SHAREX Project Co-operation Entities use WallMuse’s app to share art digital exhibitions to a broad public at large and benefit from new audiences and the innovative transparent business model.
  2. SHAREX Project Co-operation Entities can securely upload their digitised artworks either in form of images, sound tracks or videos to curate multi-screen exhibitions called Montages.
  3. SHAREX Co-operation Entities may become delegates of each other. In other words, Co-operation Entities have access to other SHAREX Project Members’ digitised artworks and Montages under copyright extending curation possibilities, also co-curations amongst different organisations. Creative Commons rights are by default shared and not concerned. No Access Montages are accessible to Members as a means to work together.
  4. Co-curations are facilitated by search of artworks through artists, art movements and categories, datations and keywords. In Montage Credits (to be implemented), all organisations should be indicated for redistribution purposes of the business model.
  5. Co-operation Entities can share their exhibitions in their premises free of charge for any screen or projection that is smaller than 2.5m (98 inches). Higher size screens and projections fall under WallMuse services.
  6. WallMuse shares the revenues from the exhibition services broken between right holders and artists, Co-operation Entities and itself, according a framework agreed between thje Co-operation Entities and WallMuse.
  7. WallMuse will negotiate broadcasting rights for artists through agreements with rights representation organisations such as ADAGP (FR), SABAM (BE), BILDKUNST (DE), COPY-DAN (DK), DACS (UK), (SK), SIAE (IT), SPA (PT), VAGA (US), VEGAP (ES) and others. A solo artist Montage if amongst this list, needs to be approved by the associated rights representation that contacts the right holder(s). An organisation may ask broadcasting rights to an artist. When a Co-operation Entity has broadcasting rights on a given author, these should be indicated by naming them as Rights Representative in Credits in Specify Artworks (this will also be indicated in the Re-distributions Reporting and Transfers similarly to the one on the SHAREX Site > Digital Exhibitions > Financial redistributions).
  8. Subscription models are determined by type of deployment between Co-operation Entities. Professional usage (premium service with support) may be indicated. Social, education and home deployments may also benefit from certain privileges.
  9. Organisations handling, supporting deployments with local partners or clients, receive 15% on generated subscriptions. Those that introduce clients that lead to deployments receive 7.5%
  10. Quarterly reports are provided to support the shared transparent business amongst of all broadcasted Montages of that period (see SHAREX Site > Digital Exhibitions > Financial redistributions).
  11. Co-operation Entities may propose future orientations for WallMuse’s digital exhibition app.

Membership fees

See WallMuse Accounts.


See the Terms of Service of WallMuse platform : TOS

To access this page or service, you need to be a member of the SHAREX Project.

Pour avoir accès à cette page ou ce service, vous devez être membre du projet SHAREX.


Add contents

Batch upload




This space allows to ask questions, propose new themes and other specific requests. The forum is provided to co-ops to facilitate co-operations and co-curations.

Through the forum, arts professionals can request co-operations on new themes and approaches. This can concern the preparation of an exhibition or a deployment..


Why outreaching is even more important today

Digital exhibitions in public spaces provides access to a broad public. A digital presentation implies a novelty aspect, somewhat comparable to installations, although channeled through displays for half the artworks not ‘born digital’. Digitisation can present different exhibitions and contents. It is therefore dynamic as well as contemplative, paced and suitable to various publics, including those less inclined to seek or visit such art or cultural experiences.

In opposition to a planned visit of a museum, exhibition or festival experience, here the public may be having diner or drinks, checking in, waiting or walking. Some viewers might be captivated by the unusual or may simply be art lovers, but in most cases, engagements are motivated by the new experience, which sometimes stimulates interrogations.

Estimates indicate a very high outreach capacity. However the viewer’s interest might differ as they are various forms and quality of attention:

  • Most notice and appreciate,
  • Audience attention period is linked to main activity,
  • A few enquire to find out more information on the exhibition and artists.
  • Planning the visit, psychologically prepares the visitor. In the case of art in a public space, attention can vary from surprise to appreciation, to not noticing at all.
  • The artworks presented also convey emotions, and positive emotions can be a public curatorial choice.
  • A survey conducted in a lobby indicated satisfaction as a new guest experience.
  • The complementarity of online and physical exhibitions has been studied in terms of pre, in vivo and post visits, but here, the interaction involves people with “never”, “would” or “might visit” profiles, which is an advantage for exhibition curators and managers.
  • We observed that digital exhibitions can facilitate and encourage conversations, which trigger other forms of social engaging, another possible public curatorial approach.

Supporting educational and cultural heritage projects

Educational programs can benefit from better circulation of artworks, even if restricted under copyrights. Higher budget commercial deployments can support educational uses with symbolic budgets. Also, discourses by students and groups can be shared, as well as their complementary inputs, media and comments.
Specific advancements regarding the platform for a given project may benefit other future projects. There is an indirect build-up in approaches and methods, which is stimulating and innovative for future programs, also in light of their monitoring and evaluations.

Public awareness or lifelong learning approaches can also be addressed by valuing local, regional and national cultural assets. Municipalities, regions and nations have invested in such efforts and programs. But many don’t fund digital versions, often because of rights and technical barriers.


Detailed Directory (access to members)


Alexandre Khan

Tel: + 33 1 70 70 79 91
Skype: wallmuse.coordination


Royal Museums of Fine Arts of Belgium

Raphaëlle Claude

Tel: + 32 2 508 32 58
Skype: raphaelle.claude_1