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

NEW: Favorites curated by blinkvideo users

What do you like? Over the next few months, we will be showing here selections of works, compiled by you, as a blinkvideo user.

Nasim Weiler: Hello, there are many absolutely wonderful video works on Blinkvideo - here are my three favourites of today, March 26 - a day spent in quarantane in Paris.

Do you have any favorites on blinkvideo ? Or would you like to focus attention on some video works? Or would you like to compile and show videos on a specific topic? You can do so with the new tool on blinkvideo.
Create a favorites list as follows: When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
We are very curious about your selection!

Nadja Verena Marcin - OPHELIA
Stadtgalerie in Saarbrücken, Germany. 2019

OPHELIA is an interdisciplinary performance that is presented in the Stadtgalerie Saarbrücken as a live action and subsequently as a video installation. It reflects the human-induced destruction of nature and creates references to art, literature and science. Dressed in "Ophelia's" dress and equipped with a diving device, Nadja Verena Marcin will climb into an aquarium and try under water to read the text "The Werld" by Daniil Kharms about human perception.
Image: © Nadja Verena Marcin

Igor Simić - WELTSCHMERZ 
at Galerie Beckers, Frankfurt

The exhibition WELTSCHMERZ shows new works by Serbian artist Igor Simic, which he created in connection with his iOS game Golf Club: Wasteland. For this game he and his award-winning gaming and film company Demagog Studio developed a whole world — a storyline with characters and various landscapes — in a post-apocalyptic scenario. The eerie atmosphere of the carefully crafted visual scenery is accompanied by slow paced, nostalgic, sometimes almost chilling music that evokes the feeling of longing for something lost.
Image: © Igor Simić

Fuzzy dark spot
Video art from Hamburg

The exhibition FUZZY DARK SPOT curated by the Hamburg-based video artist Wolfgang Oelze, at the Falckenberg Collection brings together 56 video works by over 30 mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions in both thematic and monographic groups.
image: © Stefan Panhans

REFRACTED REALITIES at VIDEONALE.17

In optics, “refraction” refers to the bending of a beam of light, a change in direction which occurs at the moment when it passes from one medium to another. Through refraction, the light wave alters course, changing the way we perceive the objects it illuminates in the process. This optical deviation requires us to repeatedly correct our gaze, comparing the beginning and end points of our perception with reality, and bringing the object we see clearly into focus. In its figurative sense, refraction refers to a critical reflection on the means and channels of visualization, and by extension the possibility of a rearticulation of our view of things – how they are, were, or apparently always have been.
Image: © Sohrab Hura

Featured videos

Annegret Soltau
Schwanger-Sein I, 1977/78

"My pregnancies in 1978 and 1980 became an important theme for me. This personal experience yielded pictures in which I once again used myself as a model, this time myself in the process of being pregnant. The fear that my role as a mother could jeopardize my life as an artist inspired me to create a great many photos and videos. At this point I was preoccupied with the question of how women combine creativity and motherhood.“ (Annegret Soltau)

Tobias Yves Zintel
Breed and Educate, 2018

The Film Breed and Educate is based on a collaborative performance with a class from the Hector-Peterson-Schule Berlin Kreuzberg and the HAU. In numerous task based rehearsals eight pupils between 11 and 13 years explored the possibilties of self-education. Based on various materials from found footage to documentary and staged scenes the film circles around the relationship of controlling and self-empowerment in educational systems. Breed and Educate is circling around the question of how lessons should be organised in times of network and algorthim-based learning. Algorithms and neuronal networks have to master problems only once, after they achieved their goal, results can be duplicated and copied any number of times. Kids on the other hand side have to learn everything step by step, the accumulated knowlede can’t be transfered from on kid to the other by „copy and paste“. An allopoetic system is a trivial system, which can be potentially fully explored, controlled and operated by an observer. With a similar theory in mind, the Prussians started to organise schooling in 1717, to prepare pupils for the Prussian Military Academy. What happens almost 300 years later in a school in Berlin, when the relationship between control and self-empowerment is inverted by postmigrant pupils who breed robots, are educated by them and vice versa? “ In Breed and Educate an automated dionsaur is introduced by a twelfe year old boy: “It’s easily trainable”. While he explains the mode of operation, one sees the parallels: the school wouldn’t have any problems with pupils equipped with a suitable operating system downloaded from the internet. Sounds like an uncanny utopia.” (Katrin Bettina Müller)

Lene Markusen
Grad, 2004

Dieter Kiessling
60 Minutes 360 Degrees GK 2010, 2010

A boy is portrayed with a video camera for an hour on a tennis court.During this time the camera turns through 360 degrees. Meanwhile, the whole space is recorded piece by piece. The boy follows the camera movement slowly thus remaining constantly in the centre of the picture.

Clemens von Wedemeyer
Silberhöhe, 2003

In Halle-Silberhöhe in East Germany, the camera records peri-urban area architecture, prefabricated buildings that are deserted and destined to be demolished. The commentary evokes a film editing technique used by Michelangelo Antonioni in his film, L’Eclisse (1962).

Janet Biggs
Fade to White, 2010

In Fade to White, Biggs delves into the desire to explore remote lands. To create this work, the artist embarked on an expedition in the high Arctic, traveling aboard an ice-class, 2-masted schooner, built in 1910. During the voyage, Biggs filmed Fade to White, focusing on a crew member as he navigated the ship through iceberg filled seas, and paddled a kayak past glacier walls and polar bears. As she photographed the explorer, Biggs tested her own will and endurance. The visual tension of her uncompromising imagery bespeaks their mutual struggle to maintain balance and purpose. Yet, the video also reveals the myth of the solitary white male explorer. Biggs explains, "The desire to hold onto the notion of the 'great white north' as a blank space awaiting interpretation only reinforces the idea of the colonial polar hero. The 'virgin' north has now been mapped, surveyed, and mined, but increased knowledge has not replaced endless fantasies of discovery." Loss and change are implicit in the video's title, Fade to White, which refers to an editing technique used to evoke death or transcendence. Biggs integrated her Arctic imagery with sound and video footage of counter tenor John Kelly, whose age, androgyny, and mournful voice parallel the vanishing Arctic landscape and signal the waning of male dominance.

Rebecca Ann Tess
The Tallest, 2014

The »The Tallest« shows pictures shot on-site of the currently tallest buildings in the world. The high-rises are shown as set pieces of global capitalism, visually disappearing into abstraction. The reduced images are reminding of 3D rendering. The simulated image of these buildings circulates in the media for representational and advertising purposes, becomes a substantial object and the actual spatiality becomes a mockup. The narration is undertaken by a computer voice, it describes the competition for the tallest tower at such divers places as Chicago, Dubai, Hong Kong, Kuala Lumpur, Mecca, Nanjing, New York City, Seoul, Shanghai, Shenzhen, Songdo and Taipei.

Johanna Reich
LIGHT ON BLACK ON WHITE HOMAGE TO MALEVICH, 2015

A moving digital light drawing illuminates a white wall. A hand painting a black square on the white surface becomes visible. At the same time the light drawing is painting a light square. In the end the light of the digital light square illuminates the finished black oil painting.

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

The group show “Antarctica. An Exhibition on Alienation” was presented in Vienna during the past winter season. Departing from a note written by the Italian cult director Michelangelo Antonioni referring to a potential glacier melting in the Antarctica and a hint to a film, the two curators from the Kunsthalle Wien, Vanessa Joan Müller and Nicolaus Schafhausen, conceived an exhibition on the topic of alienation and contemporary art. The focus was on the latest contemporary photography and video art by the younger generation of artists.
Image: © Isabella Fürnkäs

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art
/ Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Johan Grimonprez

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities.
image: © Johan Griminprez

Christoph Faulhaber: Revolution & Architecture

With "Revolution & Architecture" Christoph Faulhaber (* 1972 in Osnabrück, lives in Hamburg) conceives, builds, designs and opens a whole series of very different rooms in the Kunsthalle Osnabrück. In order to discover the revolutionary aspect of these "architectures", one has to look at the social implications of interior design in general. In the forum the visitor then enters Faulhaber's cinematic autobiography "Every Picture is an Empty Picture" as in the eye of the cyclone: The work is split into 15 individual films and surrounds the visitor in a circle.
Image: © Christoph Faulhaber

Stiftung imai – inter media art institute

The Düsseldorf based foundation imai – inter media art institute was founded in 2006 in order to establish an institution in Germany dedicated to the distribution and preservation of media art and associated activities.
Image: © Marcel Odenbach

blinkvideo the platform for . . .

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.

Our Partners

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

Marie-Jeanne Musiol

Works


Galleries

Pierre-François Ouellette art contemporain
Pierre-François Ouellette
372 Ste-Catherine West #216
H3B 1A2 Montréal, Québec
Canada

Phone: (514) 395 - 6032
E-Mail: pfo@pfoac.com




Biography

Selekted solo exhibitions

2011
Black Holes. Prefix Institute of Contemporary Art, Toronto (Ontario)

2009
Miroirs du cosmos. Ritchies, Montréal (Québec)
La forat radieuse. Voix Visuelle, Ottawa (Ontario)

2006
Miroirs du cosmos. Pierre-François Ouellette art contemporain, Montréal (Québec)

2005
Jardin d’ombre, jardin de lumiere. Jardin botanique de Montréal (Québec)

2004
Penetrating Matter. Gallery 44, Toronto (Ontario)

2003
Nouveaux portraits. Pierre-François Ouellette art contemporain, Montréal (Québec)

2002/4
Silences. Musée d’art urbain, Montréal (Québec)

2002
Traverser la matiere. AxeNéo7, Gatineau (Québec)

1999
In the Shadow of the Forest (Auschwitz-Birkenau). Gallery 44, Toronto (Ontario) /

1998
Al’ombre de la forat (Auschwitz-Birkenau). Galerie SAW Gallery, Ottawa (Ontario)

1996
Études (Quand la terre retient). Galerie Yves LeRoux, Montréal (Québec)

1995
Et encore de la poussiere. Galerie Vox, Montréal (Québec)

1994
L’instant d’avant la mort. Galerie Plein-Sud, Longueil (Québec)

1993
Du noir, une impulsion lumineuse. La Galerie d’art d’Ottawa, Ottawa (Ontario)/
Galerie Liane et Danny Taran, Centre Saidye Bronfman, Montréal (Québec)

1991
Seize trous dans la mémoire d’Hadrien. La Centrale, Montréal (Québec)

1989
Et soudain une présence. Centre culturel canadien, Rome (Italie)

1988
Études (Le temple est ouvert). Galerie Aubes, Montréal (Québec)

Selected group exhibitions

2012
Photon +. International Techno Art Exhibition, New Taipei (Taiwan)
Fugacité et Liminalité. Galeria Macchina, Santiago (Chili)

2011
Preternatural. Musée canadien de la nature, Ottawa (Ontario)
thelivingeffect. Galerie d’art d’Ottawa, Ottawa (Ontario)

2010
Many Guises. Contemporary Self Portraits. Bytown Museum, Ottawa (Ontario)
Face by face/Looking back. Pierre-François Ouellette art contemporain, Montréal (Québec)

2008
Art + Communication: Spectropia. New Media Culture RIXC (Riga), Lettonie
La photographie hantée par la photographie spirite. Musée de Rimouski, Rimouski (Québec)

2007
Graphzines et autres publications d’artistes. Bibliotheque et Archives nationales du Québec, Montréal(Québec)

2006
Electromagnetic Bodies. Conde Duque Medialab (Madrid); V2/TENT (Rotterdam); Ludwig Museum (Budapest);
Maison Européenne de la Photographie (Paris)

2005
Electromagnetic Bodies. ZKM/Zentrum für Kunst und Medientechnologie, Karlsruhe (Allemagne); Oboro (Montréal)

2004
L’Odyssée de la lumiere. Musée de la civilisation, Québec (Québec)

2003
Artiste résidente/Memorial University Gallery -The Rooms. Parc national du Gros-Morne (Terre-Neuve)
Corps de lumiere. La Galerie des Grands-Bains-Douches, Marseille (France)
The Bigger Picture. La Galerie d’art d’Ottawa (Ontario)
Livres d’artistes de la collection de la Banq. York Quay Gallery, Toronto (Ontario)/BAC, Ottawa (Ontario)

2002
Against Time. The Armando Museum, Amersfoort (Hollande)
Oeuvres en contexte. La Galerie d’art d’Ottawa (Ontario)
Entre le silence et la profusion. Exposition du Musée virtuel de la photographie québécoise, Montréal (Québec)

2001
Willie Doherty, Marie-Jeanne Musiol et Gilles Peress: Une autre actualité. La photographie d’événement face by la terreur. Dazibao, Montréal (Québec)
Localities/ Localités. La Galerie d’art d’Ottawa (Ontario)

2000
Shimmer. Contact, Toronto (Ontario)
Afterimage/Rémanences. Centre commémoratif de l’Holocauste, Montréal (Québec)
Museo de Arte contemporaneo, Santiago (Chili)

1999
Les galeries Denyse Delrue. Maison de la culture Frontenac, Montréal (Québec)

1998
Museo de Arte contemporaneo, Santiago (Chili)

1997
Photographie et immatérialité. Le Mois de la photo, Montréal (Québec)
Manoeuvres. La Galerie d’art d’Ottawa, Ottawa (Ontario)
Les Brasseurs, Liege (Belgique)/ Gallery 44, Toronto (Ontario)
Portraits. Musée national des beaux-arts du Québec (Québec)

1996
Champs de l’absence. Centre d’Art Santa Monica, Barcelone (Espagne)

1995
Forming Memory/ Formations mnémoniques. Galerie d’art Léonard et Bina Ellen, Université Concordia, Montréal

1993
Quand la parole glisse. Musée canadien de la photographie contemporaine, Ottawa (Ontario)

1992
Beau. Musée canadien de la photographie contemporaine, Ottawa (Ontario)

1989
Nouvelles acquisitions. Collection de prat d’oeuvres d’art. Musée national des beaux-arts du Québec (Québec)

1988
Beyond Boundaries. Sept photographes d’Ottawa. Arti Gallery, La Haye (Hollande)

Videographie / videos

2011
Black Holes /Trous noirs (Latrines, Women’s Camp, Auschwitz-Birkenau). 2 min.

2006
Miroirs du cosmos/ Mirrors of the Cosmos. 16 min.

2000
Corps de lumiere. Champs de lumiere. États./ Bodies of Light. Fields of Light. States. 10 min.

1996
Do Falling Leaves Go Unseen? (Auschwitz-Birkenau). 10 min.

Marie-Jeanne Musiol
Selekted solo exhibitions 2011Black Holes. Prefix Institute of Contemporary Art, Toronto (Ontario) 2009Miroirs du cosmos. Ritchies, Montréal (Québec) La forat radieuse. Voix Visuelle, Ottawa (Ontario) 2006 Miroirs du cosmos. Pierre-François Ouellette art contemporain, Montréal (Québec) 2005 Jardin d’ombre, jardin de lumiere. Jardin botanique de Montréal (Québec) 2004 Penetrating Matter. Gallery 44, Toronto (Ontario) 2003 Nouveaux portraits. Pierre-François Ouellette art contemporain, Montréal (Québec) 2002/4 Silences. Musée d’art urbain, Montréal (Québec) 2002 Traverser la matiere. AxeNéo7, Gatineau (Québec) 1999 In the Shadow of the Forest (Auschwitz-Birkenau). Gallery 44, Toronto (Ontario) / 1998 Al’ombre de la forat (Auschwitz-Birkenau). Galerie SAW Gallery, Ottawa (Ontario) 1996 Études (Quand la terre retient). Galerie Yves LeRoux, Montréal (Québec) 1995 Et encore de la poussiere. Galerie Vox, Montréal (Québec) 1994 L’instant d’avant la mort. Galerie Plein-Sud, Longueil (Québec) 1993 Du noir, une impulsion lumineuse. La Galerie d’art d’Ottawa, Ottawa (Ontario)/ Galerie Liane et Danny Taran, Centre Saidye Bronfman, Montréal (Québec) 1991 Seize trous dans la mémoire d’Hadrien. La Centrale, Montréal (Québec) 1989 Et soudain une présence. Centre culturel canadien, Rome (Italie) 1988 Études (Le temple est ouvert). Galerie Aubes, Montréal (Québec) Selected group exhibitions 2012 Photon +. International Techno Art Exhibition, New Taipei (Taiwan) Fugacité et Liminalité. Galeria Macchina, Santiago (Chili) 2011 Preternatural. Musée canadien de la nature, Ottawa (Ontario) thelivingeffect. Galerie d’art d’Ottawa, Ottawa (Ontario) 2010 Many Guises. Contemporary Self Portraits. Bytown Museum, Ottawa (Ontario) Face by face/Looking back. Pierre-François Ouellette art contemporain, Montréal (Québec) 2008 Art + Communication: Spectropia. New Media Culture RIXC (Riga), Lettonie La photographie hantée par la photographie spirite. Musée de Rimouski, Rimouski (Québec) 2007 Graphzines et autres publications d’artistes. Bibliotheque et Archives nationales du Québec, Montréal(Québec) 2006 Electromagnetic Bodies. Conde Duque Medialab (Madrid); V2/TENT (Rotterdam); Ludwig Museum (Budapest); Maison Européenne de la Photographie (Paris) 2005 Electromagnetic Bodies. ZKM/Zentrum für Kunst und Medientechnologie, Karlsruhe (Allemagne); Oboro (Montréal) 2004 L’Odyssée de la lumiere. Musée de la civilisation, Québec (Québec) 2003 Artiste résidente/Memorial University Gallery -The Rooms. Parc national du Gros-Morne (Terre-Neuve) Corps de lumiere. La Galerie des Grands-Bains-Douches, Marseille (France) The Bigger Picture. La Galerie d’art d’Ottawa (Ontario) Livres d’artistes de la collection de la Banq. York Quay Gallery, Toronto (Ontario)/BAC, Ottawa (Ontario) 2002 Against Time. The Armando Museum, Amersfoort (Hollande) Oeuvres en contexte. La Galerie d’art d’Ottawa (Ontario) Entre le silence et la profusion. Exposition du Musée virtuel de la photographie québécoise, Montréal (Québec) 2001 Willie Doherty, Marie-Jeanne Musiol et Gilles Peress: Une autre actualité. La photographie d’événement face by la terreur. Dazibao, Montréal (Québec) Localities/ Localités. La Galerie d’art d’Ottawa (Ontario) 2000 Shimmer. Contact, Toronto (Ontario) Afterimage/Rémanences. Centre commémoratif de l’Holocauste, Montréal (Québec) Museo de Arte contemporaneo, Santiago (Chili) 1999 Les galeries Denyse Delrue. Maison de la culture Frontenac, Montréal (Québec) 1998 Museo de Arte contemporaneo, Santiago (Chili) 1997 Photographie et immatérialité. Le Mois de la photo, Montréal (Québec) Manoeuvres. La Galerie d’art d’Ottawa, Ottawa (Ontario) Les Brasseurs, Liege (Belgique)/ Gallery 44, Toronto (Ontario) Portraits. Musée national des beaux-arts du Québec (Québec) 1996 Champs de l’absence. Centre d’Art Santa Monica, Barcelone (Espagne) 1995 Forming Memory/ Formations mnémoniques. Galerie d’art Léonard et Bina Ellen, Université Concordia, Montréal 1993 Quand la parole glisse. Musée canadien de la photographie contemporaine, Ottawa (Ontario) 1992 Beau. Musée canadien de la photographie contemporaine, Ottawa (Ontario) 1989 Nouvelles acquisitions. Collection de prat d’oeuvres d’art. Musée national des beaux-arts du Québec (Québec) 1988 Beyond Boundaries. Sept photographes d’Ottawa. Arti Gallery, La Haye (Hollande) Videographie / videos 2011 Black Holes /Trous noirs (Latrines, Women’s Camp, Auschwitz-Birkenau). 2 min. 2006 Miroirs du cosmos/ Mirrors of the Cosmos. 16 min. 2000 Corps de lumiere. Champs de lumiere. États./ Bodies of Light. Fields of Light. States. 10 min. 1996 Do Falling Leaves Go Unseen? (Auschwitz-Birkenau). 10 min.

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