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

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

blinkvideo the platform for . . .

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

Stefan Panhans

Works


Statement

lives and works in Berlin, Hamburg and elsewhere. In his recent work he uses mostly video and photography. He deals with contemporary subject centred issues such as the must of self optimisation and the ‚flexible ego’ under conditions of a »new spirit of capitalism«, as well as phenomena of hyper-mediatization. As kind of an artistic research his work undertakes a mental archeology of contemporary media and its effects on our minds and bodys.


Biography

* 1967 in Hattingen (Ruhr)

1993-96 HfBK Hamburg,
Lives and works in Berlin, Hamburg and elsewhere

Solo shows

2017
A Gallerina’s Dream (with Andrea Winkler), Galerie im Turm, Berlin

2016
Sundowner #12, Neue Nationalgalerie (Terasse), Berlin
(mit / with Andrea Winkler)

2015
Stefan Panhans – Video Works, Goethe Institut, Porto Alegre
Uncertainty Projects I: Darkening Problems, ACME Studios, London
(mit / with Andrea Winkler)

2014
Too Much Change Is not Enough, Haus am Waldsee, Berlin
Bremer Videokunst Förderpreis, (mit Julian Öffler) Städtische Galerie Bremen
display: Stefan Panhans, Wilhelm Hack Museum, Ludwigshafen

2013
Schnee schnell Schnee du bleiches Reh, Villa Merkel,
Galerien der Stadt Esslingen
Womit wird eigentlich vergoldet bei einem
Waldüberfall frag ich mich gerade, OT 99-02, (JR) &, Kunsthaus Jesteburg
The Long Goodbye (Pre-Afterwork-Ok-Clubset) Casino, Projekt im öffentlichen Raum, Steintorplatz, Hamburg
The Long Goodbye (Pre-Afterwork-Ok-Clubset), Galerie Dorothea Schlueter, Hamburg
Untitled & Items for Possible Video Sets – FW Run /SORRY Homestory, Feldbuschwiesner, Berlin

2012
Untitled & Items for Possible Video Sets – Concrete Run, im Rahmen des Projekts / in line with the project: Art Is Concrete. And so Is Truth?,
Camera Austria / Steirischer Herbst, Graz
Objects & Items, Kerstin Engholm Galerie, Wien / Vienna (mit / with Stefanie Seufert)
SORRY, Galerie Conradi, Hamburg

2011
Wann kommt eigentlich der Mond raus? Museum für Gegenwartskunst Siegen

2010
I’m Cold … Did I Actually Do the Bank Transfer or Not? …
Pass Me the Coffee … What Kind Is It? Or Is It Tea?, W139, Amsterdam
Du kannst die Polizei belügen, aber nicht mich – Gefangenes Zimmer II, Kunstverein Harburger Bahnhof, Hamburg (mit / with Andrea Winkler),
VideoZone, Kunsthalle Mainz

2009
Das gefährlichste Büro der Welt, Raum für Zweckfreiheit, Berlin (mit / with Andrea Winkler)
Who’s Afraid Me too Much Change, Malkasten, Düsseldorf
Stefan Panhans, Videoart at Midnight, Babylon, Berlin
I Might Keep It without Telling Him, Galerie Olaf Stüber, Berlin
Again Here. Because We Aren’t What We Are – Stefan Panhans / Eske Schlüters, Förderpreis der Arthur Boskamp-Stiftung, M-1, Hohenlockstedt

2008
Who’s Afraid of 40 Zimmermädchen, Kunsthaus Hamburg

2007
Glow & Friends, Galerie Olaf Stüber, Berlin
Blind Date, Kunstverein Hannover, Hanover

2005
Gezuckerte Hänge, Hungrige Spiegel, Glänzende Anrufbeantworter,
Galerie Olaf Stüber, Berlin

2004
Und wie schon vorhin rollen ja auch jetzt noch alle möglichen Tätowierstudios über die Highways und durch die Holunderbüsche, die Autodächer glühen, wir gehen duschen und du sagst –, Ausstellungsraum Taubenstraße 13, Hamburg

2003
Encore, Encore!, Oberwelt e. V., Stuttgart

2002
My Heart Goes Boom 1, GScineMa, GSM, Hamburg

Group exhibitions and projects

2017
Perform!Videonale.16 on tour – ARTVILNIUS’17, Exhibition and Congress Centre Litexpo, Vilnius
Perform!Videonale.16 on tour – #PostFuture – Can You Imagine The Future? - 13th Athens Digital Arts Festival
I SEE International Video Art Festival 2017, RAM Galleri Oslo
Push !– Live In Times Of Hyperinformation, EMAF 2017, Kunsthalle Osnabrück
CAPRI BY NIGHT, curated by Philipp Fürnkäs, Capri, Offenbachplatz, Cologne
Perform!Videonale.16, Kunstmuseum Bonn

2016
Alle Achtung! – Zur Ökonomie der Aufmerksamkeit, ACC Galerie, Weimar
Face to Face, West, Den Haag
Höhenrausch, Eigen + Art Lab
Final Goods, Kunstverein Hildesheim
The Best Ones Make You Feel As Fearless As Beyonce, Metropolis Kino, Hamburg
Post Okkasion #1, Kunsthaus Jesteburg im Exil, Hamburg

2015
Kasseler Dokumentarfilm- und Videofest, Kassel, Kulturbahnhof
Der Raum zwischen den Personen kann die Decke tragen - Sammlung Ivo Wessel, Weserburg, Bremen
Galerie BRD – Everyone Is Unique, You Most of All!, Kunstverein Leipzig
drama baby! on staging the self, Kühlhaus, Berlin
Proximeties and Desires, abc, Station Berlin
The Unknwon, Städtische Galerie Wolfsburg
Inlight My Space, Art After 1990, Kunsthalle Bremen
The Negative Hand, EAV Parque Lage, Rio de Janeiro
His Masters Voice, La Panacée, Montpellier
Artemovendo – The Hidden Soul Of The Inanimated, Paco Muncicipal, Porto Alegre
How To Be Yourself, Station 21, Zürich

2014
Marler Videokunstpreis – Ausstellung, Skulpturenmuseum Glaskasten Marl / Marler Stern
Lost Paradise, KAI 10, Düsseldorf
Something With Performance, KuLe, Berlin
Notausgang am Horizont, Bremer Kunstfrühling 2014
Und ich?, Mewo Kunsthalle Memmingen

2013
Hängt den Baum hoch, Kunstverein Hannover, Hanover
Utopien vermeiden, Werkleitz Biennale, Halle (Saale)
Former West: Notes from Berlin, BAK, basis voor actuele Kunst, Utrecht

His Master’s Voice. Von Stimme und Sprache,
Hartware MedienKunstVerein, Dortmund
Former West. Documentations, Constellations, Prospects, Haus der Kulturen der Welt, Berlin
In was bin ich da reingerutscht? Existenz und Identität in der Kunst, Kunsthalle zu Kiel

2012
Keine Zeit – Busy: Erschöpftes Selbst / Entgrenztes Können, 21er Haus, Wien / Vienna
(dis)Placements, Hamburg
Uncanny Home, Corridor, Reykjavík
Über die Dinge, Kulturstiftung Schloss Agathenburg
Spargelspitzen, BÜHLERS, Fürth

2011
Von der Sehnsucht nach Glanz und Gloria, Videoscreening, Museum Ludwig, Köln / Cologne – ISEA2011, Istanbul
Schon wieder und noch mal – Handlungsspielräume?, Kunstverein Medienturm, Graz
Beyond Face, Municipality of Thessaloniki Cultural Center
Schlaf und Traum. Für eine Praxis des Horizontalen, Shedhalle, Zürich / Zurich

2010
Where Am I, Experimenter, Kalkutta / Colkata
Channel TV, Kunstverein Harburger Bahnhof, Hamburg – Halle für Kunst, Lüneburg – cneai=, Chatou
On Objects and Fetishes, 401 Contemporary, London; Anna-Catharina Gebbers, Bibliothekswohnung, Berlin
Intercool 3.0, Hartware MedienKunstVerein, Dortmund
14. Marler Medienkunstpreis, Skulpturenmuseum Glaskasten Marl
F.R.I.K Film Festival, Cultural Initiatives Development Formation, Skopje
Hart am Glück, Filmkunstfest Mecklenburg-Vorpommern, Schwerin
Grand Hotel Panhans, Atelier Jungfernstieg 34, Hamburg
Stage of Desire, Videoscreening, Museum Folkwang, Essen

2009
Stage of Desire, Videoscreening, Künstlerhaus Stuttgart – Corner College, Zürich / Zurich
Kunstfilmtag 09, Düsseldorf
In Between – die Kunst erwachsen zu werden, Kunstverein Walkmühle, Wiesbaden
Kunst und Öffentlichkeit, NBK Berlin
Multitasking, La Filature, Scène Nationale, Mulhouse

2008
Fresh German – Recent Video Art from Germany, monkey town, Brooklyn
Wir nennen es Hamburg, Kunstverein in Hamburg
Kristallin, Galerie Olaf Stüber, Berlin
Mobile Archive, Halle für Kunst Lüneburg
Fluchten, Kunstverein Walkmühle, Wiesbaden
Multitasking, Overbeck Gesellschaft, Lübeck
Call It What You Like! – The Reinking Collection, Art Centre, Silkeborg
Multitasking, Stedelijk Museum ’s-Hertogenbosch
Identity, European Media Art Festival, Osnabrück

2007
Trans Video Express – Recent Video Art from Germany, Sarah Meltzer Gallery, New York
Ivo Wessel. Korrespondenzen – Kunst und Literatur, Enzyklopädien und Deklinationen, Galerie der Stadt Sindelfingen
Multitasking, NGBK, Berlin
Diplopie – Werke aus der Sammlung Ivo Wessel, Kunstverein Göttingen
Videovisionen, Edith-Russ-Haus für Medienkunst, Oldenburg
100 Tage – 100 Videos, GL Strand, Kopenhagen / Copenhagen
Fuera de control, Zemos98, Sevilla
Eine Frage (nach) der Geste, Goethe-Institut, Rom / Rome
Wir sind wieder Wer, Kunstverein in Hamburg
Artists’ Books. Transgression | Excess, Space Other, Boston
Aktive Konstellation, Kunsthalle Brünn

2006
Eine Frage (nach) der Geste, Hochschule für Grafik und Buchkunst, Oper Leipzig
23. Kasseler Dokumentarfilm- und Videokunstfest, Kassel, Kulturbahnhof
Happy Believers, Werkleitz Biennale, Volkspark Halle (Saale)
100 Tage – 100 Videos, Kunstverein Heidelberg
Ein Freies Land, Kunstflecken, Tangente II, Neumünster
See History 2006: Schätze bilden, Kunsthalle Kiel
40 Jahre Videokunst.de – Was fehlt, Projektraum DKB, Berlin
Designing Truth, Filmprogramm, Wilhelm Lehmbruck Museum, Duisburg
12. Marler Medienkunstpreis, Skulpturenmuseum Glaskasten Marl
Zwischen Körper und Objekt, MARTa Herford
sculpure@citynord, City Nord, Hamburg
European Media Art Festival, Osnabrück
Stile der Stadt, Große Bergstraße, Hamburg
Ballermann, Kunsthalle zu Kiel
As if by Magic, ArtCenter South Florida, Miami
MinimaI Illusions – Arbeiten mit der Sammlung Rik Reinking, Villa Merkel, Esslingen
Ongoing Festival, Depot, Stuttgart
Transmediale 06, Akademie der Künste, Berlin

2005
Re-Escape, Kunsthaus Hamburg
Multiple Räume 3: Film, Kunsthalle Baden-Baden
Polymorph pervers – Die Nachtseiten der Liebe, ACC Galerie Weimar
See History 2005. Der private Blick, Kunsthalle zu Kiel
Videonale 10, Kunstmuseum Bonn
Passion des Sammelns, Halle 14, Leipzig
LED-Wall, Autostadt, Wolfsburg
Videoscreening at rice+cafe, Tokio; iaf shop, Fukuoka

2004
Kurzdavordanach, Photographische Sammlung / SK
Stiftung, Mediapark, Köln / Cologne
Sammlung Taubenstraße, Kunsthaus, Hamburg
starship – space debris, DC Büro, Köln / Cologne
Pool & Pool, zuviel.TV, Berlin
Im Bild, Kunsthalle Göppingen
Aufruhr der Gefühle – Leidenschaften als Thema der Zeitgenössischen Fotografie, Museum für Photographie, Braunschweig – Kunsthalle Göppingen
Ein Tag Ein Raum Ein Bild, Sebastian Fath Contemporary, Mannheim
Kora Jünger, Stefan Panhans, Hamburger Botschaft, Hamburg
Amok Weniger Notfälle, Schaubühne, Berlin
Kunstlichtkongress, Walcheturm, Zürich / Zurich
Straight-to-Video, Hôtel Bellville, London

2003
Ein Paradies für Jäger, Schloss Burgau, Düren
Dasein, Positionen zeitgenössischer Kunst aus der Sammlung Reinking, Ernst Barlach Museum, Wedel
Come on the Stage, Baby, and I don’t Mean Maybe, V.I.D. Videofestival, Dampfzentrale, Bern
Many Happy Returns, Kunstverein Springhornhof, Neuenkirchen
Feine Ware, Kunstverein Harburg, Hamburg
4. OG., Alsterhaus, Hamburg

2002
Video ist Rodeo, Taubenstraße, Hamburg
Unter Uns, Videoscreening, SFAI, San Francisco – Kunstverein Celle
Fotografien von Bernd und Hilla Becher, Katja Eydel, Andreas Gursky, Candida Höfer, Axel Hütte, Stefan Panhans, Thomas Struth, Michael Wesely, Christine Zück, Galerie Fahnemann, Berlin
starship # 5, Raum 3, Berlin; Butt-Club, Hamburg;
Kafe Bar, Wien /Vienna

2001
F, Produzentengalerie, Hamburg
Hamburgstipendiaten 2000, Kunsthaus, Hamburg

2000
real[work], Biennale Tornitz Werkleitz
Videolounge, Fahrradhalle, Frankfurt am Main

Novels

2017
We Just Left Shore, Textem, Hamburg

Awards and artist residencies

2014
22. Bremer Videokunst-Förderpreis
Kunstresidenz 2014, Bad Gastein
2010
Projektstipendium der Stiftung Kunstfonds, Bonn
2009
Hans-Günther-Baass-Atelier-Stipendium, Hamburg
2008
Förderpreis Bildende Kunst 2008, Arthur Boskamp-Stiftung
2006
Arbeitsstipendium der Stiftung Kunstfonds, Bonn
2004
Atelierstipendium der Künstlerstätte Schloss Bleckede
2002
Atelierstipendium GSM, Hamburg
2000
Arbeitsstipendium der Kulturbehörde der Freien und Hansestadt Hamburg

Stefan Panhans
* 1967 in Hattingen (Ruhr) 1993-96 HfBK Hamburg, Lives and works in Berlin, Hamburg and elsewhere Solo shows 2017 A Gallerina’s Dream (with Andrea Winkler), Galerie im Turm, Berlin 2016 Sundowner #12, Neue Nationalgalerie (Terasse), Berlin (mit / with Andrea Winkler) 2015 Stefan Panhans – Video Works, Goethe Institut, Porto Alegre Uncertainty Projects I: Darkening Problems, ACME Studios, London (mit / with Andrea Winkler) 2014 Too Much Change Is not Enough, Haus am Waldsee, Berlin Bremer Videokunst Förderpreis, (mit Julian Öffler) Städtische Galerie Bremen display: Stefan Panhans, Wilhelm Hack Museum, Ludwigshafen 2013 Schnee schnell Schnee du bleiches Reh, Villa Merkel, Galerien der Stadt Esslingen Womit wird eigentlich vergoldet bei einem Waldüberfall frag ich mich gerade, OT 99-02, (JR) &, Kunsthaus Jesteburg The Long Goodbye (Pre-Afterwork-Ok-Clubset) Casino, Projekt im öffentlichen Raum, Steintorplatz, Hamburg The Long Goodbye (Pre-Afterwork-Ok-Clubset), Galerie Dorothea Schlueter, Hamburg Untitled & Items for Possible Video Sets – FW Run /SORRY Homestory, Feldbuschwiesner, Berlin 2012 Untitled & Items for Possible Video Sets – Concrete Run, im Rahmen des Projekts / in line with the project: Art Is Concrete. And so Is Truth?, Camera Austria / Steirischer Herbst, Graz Objects & Items, Kerstin Engholm Galerie, Wien / Vienna (mit / with Stefanie Seufert) SORRY, Galerie Conradi, Hamburg 2011 Wann kommt eigentlich der Mond raus? Museum für Gegenwartskunst Siegen 2010 I’m Cold … Did I Actually Do the Bank Transfer or Not? … Pass Me the Coffee … What Kind Is It? Or Is It Tea?, W139, Amsterdam Du kannst die Polizei belügen, aber nicht mich – Gefangenes Zimmer II, Kunstverein Harburger Bahnhof, Hamburg (mit / with Andrea Winkler), VideoZone, Kunsthalle Mainz 2009 Das gefährlichste Büro der Welt, Raum für Zweckfreiheit, Berlin (mit / with Andrea Winkler) Who’s Afraid Me too Much Change, Malkasten, Düsseldorf Stefan Panhans, Videoart at Midnight, Babylon, Berlin I Might Keep It without Telling Him, Galerie Olaf Stüber, Berlin Again Here. Because We Aren’t What We Are – Stefan Panhans / Eske Schlüters, Förderpreis der Arthur Boskamp-Stiftung, M-1, Hohenlockstedt 2008 Who’s Afraid of 40 Zimmermädchen, Kunsthaus Hamburg 2007 Glow & Friends, Galerie Olaf Stüber, Berlin Blind Date, Kunstverein Hannover, Hanover 2005 Gezuckerte Hänge, Hungrige Spiegel, Glänzende Anrufbeantworter, Galerie Olaf Stüber, Berlin 2004 Und wie schon vorhin rollen ja auch jetzt noch alle möglichen Tätowierstudios über die Highways und durch die Holunderbüsche, die Autodächer glühen, wir gehen duschen und du sagst –, Ausstellungsraum Taubenstraße 13, Hamburg 2003 Encore, Encore!, Oberwelt e. V., Stuttgart 2002 My Heart Goes Boom 1, GScineMa, GSM, Hamburg Group exhibitions and projects 2017 Perform!Videonale.16 on tour – ARTVILNIUS’17, Exhibition and Congress Centre Litexpo, Vilnius Perform!Videonale.16 on tour – #PostFuture – Can You Imagine The Future? - 13th Athens Digital Arts Festival I SEE International Video Art Festival 2017, RAM Galleri Oslo Push !– Live In Times Of Hyperinformation, EMAF 2017, Kunsthalle Osnabrück CAPRI BY NIGHT, curated by Philipp Fürnkäs, Capri, Offenbachplatz, Cologne Perform!Videonale.16, Kunstmuseum Bonn 2016 Alle Achtung! – Zur Ökonomie der Aufmerksamkeit, ACC Galerie, Weimar Face to Face, West, Den Haag Höhenrausch, Eigen + Art Lab Final Goods, Kunstverein Hildesheim The Best Ones Make You Feel As Fearless As Beyonce, Metropolis Kino, Hamburg Post Okkasion #1, Kunsthaus Jesteburg im Exil, Hamburg 2015 Kasseler Dokumentarfilm- und Videofest, Kassel, Kulturbahnhof Der Raum zwischen den Personen kann die Decke tragen - Sammlung Ivo Wessel, Weserburg, Bremen Galerie BRD – Everyone Is Unique, You Most of All!, Kunstverein Leipzig drama baby! on staging the self, Kühlhaus, Berlin Proximeties and Desires, abc, Station Berlin The Unknwon, Städtische Galerie Wolfsburg Inlight My Space, Art After 1990, Kunsthalle Bremen The Negative Hand, EAV Parque Lage, Rio de Janeiro His Masters Voice, La Panacée, Montpellier Artemovendo – The Hidden Soul Of The Inanimated, Paco Muncicipal, Porto Alegre How To Be Yourself, Station 21, Zürich 2014 Marler Videokunstpreis – Ausstellung, Skulpturenmuseum Glaskasten Marl / Marler Stern Lost Paradise, KAI 10, Düsseldorf Something With Performance, KuLe, Berlin Notausgang am Horizont, Bremer Kunstfrühling 2014 Und ich?, Mewo Kunsthalle Memmingen 2013 Hängt den Baum hoch, Kunstverein Hannover, Hanover Utopien vermeiden, Werkleitz Biennale, Halle (Saale) Former West: Notes from Berlin, BAK, basis voor actuele Kunst, Utrecht His Master’s Voice. Von Stimme und Sprache, Hartware MedienKunstVerein, Dortmund Former West. Documentations, Constellations, Prospects, Haus der Kulturen der Welt, Berlin In was bin ich da reingerutscht? Existenz und Identität in der Kunst, Kunsthalle zu Kiel 2012 Keine Zeit – Busy: Erschöpftes Selbst / Entgrenztes Können, 21er Haus, Wien / Vienna (dis)Placements, Hamburg Uncanny Home, Corridor, Reykjavík Über die Dinge, Kulturstiftung Schloss Agathenburg Spargelspitzen, BÜHLERS, Fürth 2011 Von der Sehnsucht nach Glanz und Gloria, Videoscreening, Museum Ludwig, Köln / Cologne – ISEA2011, Istanbul Schon wieder und noch mal – Handlungsspielräume?, Kunstverein Medienturm, Graz Beyond Face, Municipality of Thessaloniki Cultural Center Schlaf und Traum. Für eine Praxis des Horizontalen, Shedhalle, Zürich / Zurich 2010 Where Am I, Experimenter, Kalkutta / Colkata Channel TV, Kunstverein Harburger Bahnhof, Hamburg – Halle für Kunst, Lüneburg – cneai=, Chatou On Objects and Fetishes, 401 Contemporary, London; Anna-Catharina Gebbers, Bibliothekswohnung, Berlin Intercool 3.0, Hartware MedienKunstVerein, Dortmund 14. Marler Medienkunstpreis, Skulpturenmuseum Glaskasten Marl F.R.I.K Film Festival, Cultural Initiatives Development Formation, Skopje Hart am Glück, Filmkunstfest Mecklenburg-Vorpommern, Schwerin Grand Hotel Panhans, Atelier Jungfernstieg 34, Hamburg Stage of Desire, Videoscreening, Museum Folkwang, Essen 2009 Stage of Desire, Videoscreening, Künstlerhaus Stuttgart – Corner College, Zürich / Zurich Kunstfilmtag 09, Düsseldorf In Between – die Kunst erwachsen zu werden, Kunstverein Walkmühle, Wiesbaden Kunst und Öffentlichkeit, NBK Berlin Multitasking, La Filature, Scène Nationale, Mulhouse 2008 Fresh German – Recent Video Art from Germany, monkey town, Brooklyn Wir nennen es Hamburg, Kunstverein in Hamburg Kristallin, Galerie Olaf Stüber, Berlin Mobile Archive, Halle für Kunst Lüneburg Fluchten, Kunstverein Walkmühle, Wiesbaden Multitasking, Overbeck Gesellschaft, Lübeck Call It What You Like! – The Reinking Collection, Art Centre, Silkeborg Multitasking, Stedelijk Museum ’s-Hertogenbosch Identity, European Media Art Festival, Osnabrück 2007 Trans Video Express – Recent Video Art from Germany, Sarah Meltzer Gallery, New York Ivo Wessel. Korrespondenzen – Kunst und Literatur, Enzyklopädien und Deklinationen, Galerie der Stadt Sindelfingen Multitasking, NGBK, Berlin Diplopie – Werke aus der Sammlung Ivo Wessel, Kunstverein Göttingen Videovisionen, Edith-Russ-Haus für Medienkunst, Oldenburg 100 Tage – 100 Videos, GL Strand, Kopenhagen / Copenhagen Fuera de control, Zemos98, Sevilla Eine Frage (nach) der Geste, Goethe-Institut, Rom / Rome Wir sind wieder Wer, Kunstverein in Hamburg Artists’ Books. Transgression | Excess, Space Other, Boston Aktive Konstellation, Kunsthalle Brünn 2006 Eine Frage (nach) der Geste, Hochschule für Grafik und Buchkunst, Oper Leipzig 23. Kasseler Dokumentarfilm- und Videokunstfest, Kassel, Kulturbahnhof Happy Believers, Werkleitz Biennale, Volkspark Halle (Saale) 100 Tage – 100 Videos, Kunstverein Heidelberg Ein Freies Land, Kunstflecken, Tangente II, Neumünster See History 2006: Schätze bilden, Kunsthalle Kiel 40 Jahre Videokunst.de – Was fehlt, Projektraum DKB, Berlin Designing Truth, Filmprogramm, Wilhelm Lehmbruck Museum, Duisburg 12. Marler Medienkunstpreis, Skulpturenmuseum Glaskasten Marl Zwischen Körper und Objekt, MARTa Herford sculpure@citynord, City Nord, Hamburg European Media Art Festival, Osnabrück Stile der Stadt, Große Bergstraße, Hamburg Ballermann, Kunsthalle zu Kiel As if by Magic, ArtCenter South Florida, Miami MinimaI Illusions – Arbeiten mit der Sammlung Rik Reinking, Villa Merkel, Esslingen Ongoing Festival, Depot, Stuttgart Transmediale 06, Akademie der Künste, Berlin 2005 Re-Escape, Kunsthaus Hamburg Multiple Räume 3: Film, Kunsthalle Baden-Baden Polymorph pervers – Die Nachtseiten der Liebe, ACC Galerie Weimar See History 2005. Der private Blick, Kunsthalle zu Kiel Videonale 10, Kunstmuseum Bonn Passion des Sammelns, Halle 14, Leipzig LED-Wall, Autostadt, Wolfsburg Videoscreening at rice+cafe, Tokio; iaf shop, Fukuoka 2004 Kurzdavordanach, Photographische Sammlung / SK Stiftung, Mediapark, Köln / Cologne Sammlung Taubenstraße, Kunsthaus, Hamburg starship – space debris, DC Büro, Köln / Cologne Pool & Pool, zuviel.TV, Berlin Im Bild, Kunsthalle Göppingen Aufruhr der Gefühle – Leidenschaften als Thema der Zeitgenössischen Fotografie, Museum für Photographie, Braunschweig – Kunsthalle Göppingen Ein Tag Ein Raum Ein Bild, Sebastian Fath Contemporary, Mannheim Kora Jünger, Stefan Panhans, Hamburger Botschaft, Hamburg Amok Weniger Notfälle, Schaubühne, Berlin Kunstlichtkongress, Walcheturm, Zürich / Zurich Straight-to-Video, Hôtel Bellville, London 2003 Ein Paradies für Jäger, Schloss Burgau, Düren Dasein, Positionen zeitgenössischer Kunst aus der Sammlung Reinking, Ernst Barlach Museum, Wedel Come on the Stage, Baby, and I don’t Mean Maybe, V.I.D. Videofestival, Dampfzentrale, Bern Many Happy Returns, Kunstverein Springhornhof, Neuenkirchen Feine Ware, Kunstverein Harburg, Hamburg 4. OG., Alsterhaus, Hamburg 2002 Video ist Rodeo, Taubenstraße, Hamburg Unter Uns, Videoscreening, SFAI, San Francisco – Kunstverein Celle Fotografien von Bernd und Hilla Becher, Katja Eydel, Andreas Gursky, Candida Höfer, Axel Hütte, Stefan Panhans, Thomas Struth, Michael Wesely, Christine Zück, Galerie Fahnemann, Berlin starship # 5, Raum 3, Berlin; Butt-Club, Hamburg; Kafe Bar, Wien /Vienna 2001 F, Produzentengalerie, Hamburg Hamburgstipendiaten 2000, Kunsthaus, Hamburg 2000 real[work], Biennale Tornitz Werkleitz Videolounge, Fahrradhalle, Frankfurt am Main Novels 2017 We Just Left Shore, Textem, Hamburg Awards and artist residencies 2014 22. Bremer Videokunst-Förderpreis Kunstresidenz 2014, Bad Gastein 2010 Projektstipendium der Stiftung Kunstfonds, Bonn 2009 Hans-Günther-Baass-Atelier-Stipendium, Hamburg 2008 Förderpreis Bildende Kunst 2008, Arthur Boskamp-Stiftung 2006 Arbeitsstipendium der Stiftung Kunstfonds, Bonn 2004 Atelierstipendium der Künstlerstätte Schloss Bleckede 2002 Atelierstipendium GSM, Hamburg 2000 Arbeitsstipendium der Kulturbehörde der Freien und Hansestadt Hamburg

Stefan Panhans
Homestory (Il Cielo In Una Stanza)

Artist Stefan Panhans
Year 2012
Duration 3:18 min
Technical info HD
Contact

For further information contact blinkvideo
Phone: +49 172 4024342
E-Mail: julia (et) blinkvideo.de

About the video

In his three-minute “Homestory”, Stefan Panhans follows an interest that is also immanent in his photographs and films, namely of how “images” are influencing not only the outfit of a mainly younger generation, but are in addition, determinating the everyday life up to the tiniest detail. The artist’s favourite actress Lisa Marie Janke plays a young woman, who sits opposite of mattresses on the floor, her legs bent; on her back she carries an enormous red trecking backpack. The austere atmosphere could be part of a shared appartement, which, at most, might function as a sort of base camp for the woman’s striving for the challenge of extreme physical action. On closer inspection, traces of precedent exercises like a small wound on the ellbow appear.

After some time of poising, the woman takes in hand a sheet of paper lying in front of her in order to read off, at high speed without taking breath and in German and English language, the choice of food and beverages in a posh restaurant; in doing so, she apparently goes to the limits of her physical and psychological limits[she is apparently stretched to her physical and psychological limits]. This is followed by a short yoga exercise accompanied by before in the background and by now cleary audible noise music. Then the woman retakes her initial crouched stance in a strangely mechanical manner and the music ends.

The procedure reminds of the short performance of a top athlete, exhausted due to hard exercise, which is preceded by some moments of almost meditative concentration. The swift reading out suggests in addition, that this could be a rehearsal for an entry into the Guinness Book of Records or for a TV appearance on “Wetten dass?” [“You bet!”].

The dramaturgy of the short scene corresponds, with respect to the increasing (self)-exploitation of the human body to today’s era of biopolitics. Even the reading of a text becomes a borderline experience, which is passed on to the audience. The mechanical reciting of information reminds of the verbal cascades in the consumption-oriented world of Panhans’ early short film “Sieben bis Zehn Millionen” (2005). Both monologues give the impression that the speakers strive to keep pace with the extrinsic information flood imposed on them. The contradiction between a text and its presentation is thus handled completely different compared to, for example, Loriot’s literary appreciation of the German Federal Railway’s timetable. The scenic effect which Loriot confers to the mundane train schedule was, at that time, a humorist potshot at an avant-garde literature, which appropriated the text production of the everyday life to the point of declaring the lineup of a soccer team a poem.

Loriot could be surprisingly witty when he slams the sublime aspiration of art over the banality of everyday life. Stefan Panhans’ “Homestory”, on the contrary, demonstrates an everyday life, wherein every action already conveys the impression of an artistic staging or performance.

Ludwig Seyfarth, 2012


Credits

Starring: Lisa Marie Janke Post-production: Wolfgang Oelze

Stefan Panhans - Homestory (Il Cielo In Una Stanza)
In his three-minute “Homestory”, Stefan Panhans follows an interest that is also immanent in his photographs and films, namely of how “images” are influencing not only the outfit of a mainly younger generation, but are in addition, determinating the everyday life up to the tiniest detail. The artist’s favourite actress Lisa Marie Janke plays a young woman, who sits opposite of mattresses on the floor, her legs bent; on her back she carries an enormous red trecking backpack. The austere atmosphere could be part of a shared appartement, which, at most, might function as a sort of base camp for the woman’s striving for the challenge of extreme physical action. On closer inspection, traces of precedent exercises like a small wound on the ellbow appear.After some time of poising, the woman takes in hand a sheet of paper lying in front of her in order to read off, at high speed without taking breath and in German and English language, the choice of food and beverages in a posh restaurant; in doing so, she apparently goes to the limits of her physical and psychological limits[she is apparently stretched to her physical and psychological limits]. This is followed by a short yoga exercise accompanied by before in the background and by now cleary audible noise music. Then the woman retakes her initial crouched stance in a strangely mechanical manner and the music ends.The procedure reminds of the short performance of a top athlete, exhausted due to hard exercise, which is preceded by some moments of almost meditative concentration. The swift reading out suggests in addition, that this could be a rehearsal for an entry into the Guinness Book of Records or for a TV appearance on “Wetten dass?” [“You bet!”]. The dramaturgy of the short scene corresponds, with respect to the increasing (self)-exploitation of the human body to today’s era of biopolitics. Even the reading of a text becomes a borderline experience, which is passed on to the audience. The mechanical reciting of information reminds of the verbal cascades in the consumption-oriented world of Panhans’ early short film “Sieben bis Zehn Millionen” (2005). Both monologues give the impression that the speakers strive to keep pace with the extrinsic information flood imposed on them. The contradiction between a text and its presentation is thus handled completely different compared to, for example, Loriot’s literary appreciation of the German Federal Railway’s timetable. The scenic effect which Loriot confers to the mundane train schedule was, at that time, a humorist potshot at an avant-garde literature, which appropriated the text production of the everyday life to the point of declaring the lineup of a soccer team a poem. Loriot could be surprisingly witty when he slams the sublime aspiration of art over the banality of everyday life. Stefan Panhans’ “Homestory”, on the contrary, demonstrates an everyday life, wherein every action already conveys the impression of an artistic staging or performance.Ludwig Seyfarth, 2012

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