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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

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artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Anna Lena Grau

Works


Galleries

for further information contact blinkvideo
Germany

Phone: +49 40 22748986
E-Mail: info@blinkvideo.de




Biography

born in Hamburg

Education

1999 Abitur (university-entrance diploma)
2000-2007 studies Fine Art at the University of Fine Arts in Hamburg, Diploma
2008-2011 member of the artist group „Von dritten Räumen“
www.annalenagrau.com

Solo exhibitions (selection)

2015
A grin without a cat, as part of the exhibition series, I, too, wondered whether I could not sell something and succeed in life, kuratiert von Bettina Steinbrügge und Nadine Droste, Kunstverein Hamburg

2014
demi-produit, Thomas Rehbein Galerie

2013
Halbzeug, Thomas Rehbein Galerie, Köln

2012
Piano Nobile, with Moritz Altmann, Kulturstiftung Schloss Agathenburg

2011
Paradies, Special Guest Nicola Torke, Kunstverein Lübbecke
New Positions, Galerie Thomas Rehbein, Art Cologne 2011, Köln

2008
zwischen falten und schatten, with Pauline M`barek, Westwerk, Hamburg

2007
Vertikale Horizontrotationen, Golden Pudelkollektion, Hamburg
wenn narziss und echo sich küssen, HfBk, Hamburg

Group exhibitions (selection)

2015
Azumitale Auflösung, Künstlerhaus Lauenburg

2014
Kunstfrühling - Notausgang am Horizont, kuratiert von Ludwig Seyfarth, Gleishalle, Bremen
Beyond Manstream, Kunsthaus Essen

2013
Betreff 28, Westwerk, Hamburg
Petersburger Salon, kuratiert von Pitt Sauerwein Level One, Hamburg
Bewerberinnen 2014 für das Hamburger Arbeitsstipendium, Kunsthaus Hamburg
Vier Wände, Filmscreening mit Filmen von: Zaheed Mawani, Suse Itzel, Corinna Schnitt und Helena Wittmann, kuratiert und moderiert mit Vanessa Nica Mueller, im Rahmen des Symposiums "Schutzraum", thealit Frauen.Kultur.Labor., Bremen
KunstInfekte VI/ Bypässe, Institut für Anatomie, Erlangen
Bernhard Onderstijn en Anna Lena Grau, Galerie de Rietlanden, Amsterdam
More shopes like this, Golem, Hamburg

2012
Last Edition, Finale Ausstellung der Galerie Oel-Früh, Hamburg
Hôtel Particulier, auf Einladung von Katrin Connan und Renata Palekcic Pasel, Galerie Oel-Früh, Hamburg
Willi Venus oder Über Formen, with Sarah Bernauer und Angelika Loderer, Schwarzwaldallee, Basel/ CH
Stillstehende Sachen, aus der Sammlung SØR Rusche Niederländische Stillleben des 17. Jahrhunderts im Dialog mit zeitgenössischer Malerei, Museum Abtei Liesborn, Wadersloh

2011
The Empty Set, a staging of „von dritten Räumen“, Kunstverein Harburger Bahnhof
An Exchange with Sol LeWitt, MASS MoCA, Massachusetts

2010
Weisser Schimmel / You Can Observe a Lot by Watching, curated by Christoph Grau and Nicola
Torke, Sammlung Falckenberg, Harburg
Von dritten Räumen, curated by „Von dritten Räumen“, Kunsthaus Hamburg
Liaisons Dangereuses, curated by Ludwig Seyfarth, Galerie Thomas Rehbein, Köln
Zwischen Welten, curated by Julia Schönfeld, Kunsthalle zu Kiel

Grants and prizes

2015 Bursary Künstlerhaus Lauenburg
2014 HAmburger Arebitsstipendium
2013 3rd prize, Franz-Hecker Stipendium
2012 Froschhausen bursary
2011 Grant for the exhibition project „The Empty Set“ throught the Hamburger Kulturbehörde and the Hamburgische Kulturstiftung
2011 Bursary of the Künstlerhaus Minden
2010 Grant for the exhibition project „Von dritten Räumen“ throught the Hamburger Kulturbehörde, the Hamburgische Kulturstiftung and the Cafe Royal Kulturstiftung
2009 Honary diploma of the Jutta Cuny-Franz Memorial Award
2007 Förderung durch den Freundeskreis Hamburg
2002 1st prize, Tetra Pak Kunstförderung

Publications

I, too, wondered whether I could not sell something and succeed in life, Herausgeben vom Kunstverein Hamburg und der Kulturbehörde der Freien und Hansestadt Hamburg, 2015
Kunstfrühling 2014, Herausgegeben vom BBK, Bremen, 2014
2012 Piano Nobile, Moritz Altmann und Anna Lena Grau, Herausgegeben von der Kulturstiftung Schloss Agathenburg.
2011 Rising - Young artists to keep an eye on!, Herausgegeben von Olaf Salie, daab.
Von dritten Räumen, Herausgegeben von Anna Lena Grau, Pauline M`barek, Judith Henning, Vanessa Nica Mueller, Sonja Vohland und Anna-Lena Wenzel, Textem Verlag.
Weisser Schimmel/ You Can Observe a Lot by Watching, Herausgegeben von Harald Falckenberg Sammlung, Verlag Walther König, Köln.
Zwischen Welten, Herausgegeben von Peter Thurmann, Kunsthalle zu Kiel.
2006 Das Paradies und das Auto, Herausgeben vom Einstellungsraum e.V, hyperzine Verlag.
2005 12909 Wörter, Herausgegeben von Noemi Smolik, material-verlag.

Press (selection)

2013 Anna Lena Grau “Halbzeug”, Renate Puvogel, Kunstforum, Band 220.
2012 Subversive Maulwu¨rfe, Ute Thon, Art - Das Kunstmagazin, August 2012
2011 Im Wartesaal der Wahrnehmung, Wolf Jahn, Hamburger Abendblatt, 2. August
11 junge Ku¨nstlerinnen auf der 45. Art Cologne 2011, Et bliev nix wie et wor, Félice Gritti, Artnet magazin.
2009 Watchlist, Karin Schulze, Monopol, Nr. 2
Anna Lena Grau, Frank Hesse, Eske Schlu¨ters, der Satz “Es steht geschrieben.“, Hajo Schiff, Kunstforum, Band 196

Anna Lena Grau
born in Hamburg Education 1999 Abitur (university-entrance diploma) 2000-2007 studies Fine Art at the University of Fine Arts in Hamburg, Diploma 2008-2011 member of the artist group „Von dritten Räumen“www.annalenagrau.com Solo exhibitions (selection) 2015 A grin without a cat, as part of the exhibition series, I, too, wondered whether I could not sell something and succeed in life, kuratiert von Bettina Steinbrügge und Nadine Droste, Kunstverein Hamburg 2014 demi-produit, Thomas Rehbein Galerie 2013 Halbzeug, Thomas Rehbein Galerie, Köln 2012 Piano Nobile, with Moritz Altmann, Kulturstiftung Schloss Agathenburg 2011 Paradies, Special Guest Nicola Torke, Kunstverein Lübbecke New Positions, Galerie Thomas Rehbein, Art Cologne 2011, Köln 2008 zwischen falten und schatten, with Pauline M`barek, Westwerk, Hamburg 2007 Vertikale Horizontrotationen, Golden Pudelkollektion, Hamburg wenn narziss und echo sich küssen, HfBk, Hamburg Group exhibitions (selection) 2015 Azumitale Auflösung, Künstlerhaus Lauenburg 2014 Kunstfrühling - Notausgang am Horizont, kuratiert von Ludwig Seyfarth, Gleishalle, Bremen Beyond Manstream, Kunsthaus Essen 2013 Betreff 28, Westwerk, Hamburg Petersburger Salon, kuratiert von Pitt Sauerwein Level One, Hamburg Bewerberinnen 2014 für das Hamburger Arbeitsstipendium, Kunsthaus Hamburg Vier Wände, Filmscreening mit Filmen von: Zaheed Mawani, Suse Itzel, Corinna Schnitt und Helena Wittmann, kuratiert und moderiert mit Vanessa Nica Mueller, im Rahmen des Symposiums Schutzraum, thealit Frauen.Kultur.Labor., Bremen KunstInfekte VI/ Bypässe, Institut für Anatomie, Erlangen Bernhard Onderstijn en Anna Lena Grau, Galerie de Rietlanden, Amsterdam More shopes like this, Golem, Hamburg 2012 Last Edition, Finale Ausstellung der Galerie Oel-Früh, Hamburg Hôtel Particulier, auf Einladung von Katrin Connan und Renata Palekcic Pasel, Galerie Oel-Früh, Hamburg Willi Venus oder Über Formen, with Sarah Bernauer und Angelika Loderer, Schwarzwaldallee, Basel/ CH Stillstehende Sachen, aus der Sammlung SØR Rusche Niederländische Stillleben des 17. Jahrhunderts im Dialog mit zeitgenössischer Malerei, Museum Abtei Liesborn, Wadersloh 2011 The Empty Set, a staging of „von dritten Räumen“, Kunstverein Harburger Bahnhof An Exchange with Sol LeWitt, MASS MoCA, Massachusetts 2010 Weisser Schimmel / You Can Observe a Lot by Watching, curated by Christoph Grau and Nicola Torke, Sammlung Falckenberg, Harburg Von dritten Räumen, curated by „Von dritten Räumen“, Kunsthaus Hamburg Liaisons Dangereuses, curated by Ludwig Seyfarth, Galerie Thomas Rehbein, Köln Zwischen Welten, curated by Julia Schönfeld, Kunsthalle zu Kiel Grants and prizes 2015 Bursary Künstlerhaus Lauenburg 2014 HAmburger Arebitsstipendium 2013 3rd prize, Franz-Hecker Stipendium 2012 Froschhausen bursary 2011 Grant for the exhibition project „The Empty Set“ throught the Hamburger Kulturbehörde and the Hamburgische Kulturstiftung 2011 Bursary of the Künstlerhaus Minden 2010 Grant for the exhibition project „Von dritten Räumen“ throught the Hamburger Kulturbehörde, the Hamburgische Kulturstiftung and the Cafe Royal Kulturstiftung 2009 Honary diploma of the Jutta Cuny-Franz Memorial Award 2007 Förderung durch den Freundeskreis Hamburg 2002 1st prize, Tetra Pak Kunstförderung Publications I, too, wondered whether I could not sell something and succeed in life, Herausgeben vom Kunstverein Hamburg und der Kulturbehörde der Freien und Hansestadt Hamburg, 2015 Kunstfrühling 2014, Herausgegeben vom BBK, Bremen, 2014 2012 Piano Nobile, Moritz Altmann und Anna Lena Grau, Herausgegeben von der Kulturstiftung Schloss Agathenburg. 2011 Rising - Young artists to keep an eye on!, Herausgegeben von Olaf Salie, daab. Von dritten Räumen, Herausgegeben von Anna Lena Grau, Pauline M`barek, Judith Henning, Vanessa Nica Mueller, Sonja Vohland und Anna-Lena Wenzel, Textem Verlag. Weisser Schimmel/ You Can Observe a Lot by Watching, Herausgegeben von Harald Falckenberg Sammlung, Verlag Walther König, Köln. Zwischen Welten, Herausgegeben von Peter Thurmann, Kunsthalle zu Kiel. 2006 Das Paradies und das Auto, Herausgeben vom Einstellungsraum e.V, hyperzine Verlag. 2005 12909 Wörter, Herausgegeben von Noemi Smolik, material-verlag. Press (selection) 2013 Anna Lena Grau “Halbzeug”, Renate Puvogel, Kunstforum, Band 220. 2012 Subversive Maulwu¨rfe, Ute Thon, Art - Das Kunstmagazin, August 2012 2011 Im Wartesaal der Wahrnehmung, Wolf Jahn, Hamburger Abendblatt, 2. August 11 junge Ku¨nstlerinnen auf der 45. Art Cologne 2011, Et bliev nix wie et wor, Félice Gritti, Artnet magazin. 2009 Watchlist, Karin Schulze, Monopol, Nr. 2 Anna Lena Grau, Frank Hesse, Eske Schlu¨ters, der Satz “Es steht geschrieben.“, Hajo Schiff, Kunstforum, Band 196

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