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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.

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

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

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

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 Zett

Works


Galleries

for further information contact blinkvideo
Germany

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




Statement

The time-based practice I call my work is driven by the question how fiction and contact, definition and openness mutually affect each other. This usually leads to the development of multi-layered narratives that aim to make sure that the participant/ viewer/ audience doesn’t get lost, while giving them as much space as possible for a personal associative process. Coming from poetry, having picked up theory and film making, my multi-disciplinary practice has found a new center in (group) improvisation and embodied research. To address violence and overcome historical trauma is a recurring issue in my work, being rooted in feminist, anarchist and environmental perspectives. In the last few years my main historical focus has been emotional and material processes accompanying the disposal of the socialist state called GDR.
(Anna Zett 2020)


Biography

Education

2012: M.A. (Magister) Humboldt University Berlin: Cultural Anthropology, Gender Studies, Philosophy
2010-2013
: University of the Arts Berlin: Fine Art, Prof. Hito Steyerl
2009-2010
: Middlesex University London: Aesthetics and Art Theory, Moving Image (MA / Erasmus)
2004-2012
: Humboldt University Berlin: Gender Studies, Cultural Anthropology, Philosophy

Solo Exhibitions

2019
Hold On, Or Gallery, Vancouver
Deponie II, Zionskirche, Berlin
2015
Circuit Training, Banner Repeater, London
Research Drama, Sorbus Gallery, Helsinki

Screenings (Selection)

2020
Signals from Roots to Leaves. D-EST Video Platform, PAF Oblomov

2019
Artificial Gut Feeling, Reading & Screening by Anna Zett, Institute for Cultural Inquiry, Berlin
Films by Anna Zett, Julia Stoschek Collection, Düsseldorf
Vdrome.org, online screening in association with Serpetine Cinema, London
Refraction of Light, SALT Beyoğlu, Istanbul

2018
At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, New York City
Its origins are indeterminate, series curated by Erik Martinson, Whitechapel Gallery London

2017
Data Carriers. Film program curated by Pakui Hardware, Center for Contemprary Art Vilnius
Mene Mene Tekel Parsin. Screening curated by Jesse Darling, Somerset House Studios London
Sonic Acts Festival, Amsterdam
Colonial Crime Scenes. Union Docs, New York City
Death Is Green, Dreamlands: Immersive Cinema and Art, Screening Program, Whitney Museum of American Art, New York City

2016
November Film Festival, London
Dgtl Fmnsm/ Cynetart Festival, Festspielhaus Hellerau Dresden
Therapy Session, TENT, Rotterdam
Über die Unmöglichkeit des Seins, Kunsthalle Exnergasse, Wien
This Unwieldy Object: A Modern Research Drama by Anna Zett, Human Resources, Los Angeles
Multiplex, Nuit Blance, Toronto
Bots, Bodies, Beasts, Studium Generale Rietveld Academie, Amsterdam

2015
Screen Matter, Moving image series, Lumiére Cinema, Maastricht
The Earthbound, curated by Niekolaas J. Lekkerkerk, Cannonball Miami
This Unwieldy Object, presented by The New Inquiry, Videology, New York City
MOVES Matinée, Image Movement, Berlin
Contagious Living, screening curated by Dora Budor, Fahrenheit, Los Angeles
Tomorrow‘s Film: Anna Zett, Galerie für zeitgenössische Kunst, Leipzig
Essay Film Dissidents, curated by Kristof Trakal, Echo Park Film Center, Los Angeles
Serpentine Cinema: Films by Rachel Rose and Anna Zett, Hackney Picturehouse, London

2014
Kasseler Dokfest, Documentary Film and Video Festival, Kassel
Extinct.ly/ Extinction Marathon: Visions of the Future, Serpentine and Sackler Gallery, London

Group Exhibitions 

2018
wildes wiederholen. material von unten. District, Berlin
Species of Spaces, Karma Ltd., ACUD MACHT NEU, Berlin
Riga Photography Biennial

2017
Repeats (figures and infrastructures), Sixty Eight Art Institute, Copenhagen

2016
The Future Was Here, Æther, Sofia
Staging Distance, Zeiss-Großplanetarium, Berlin

2015
Spending Quality Time With My Quantified Self, TENT Rotterdam
Giving Up the Ghost, Transmission Gallery, Glasgow
The Eclipse of the Innocent Eye, Moving Image Department, National Gallery Prague
Crystal Readings, curated by Gislind Köhler, Galerie Soy Capitán, Berlin
Videonale.15, Festival for Contemporary Video Art, Bonn

Books

Artificial Gut Feeling, Divided Publishing, London/Brussels, 2019

Texts (Selection)

Affinity Group. In: Tools for Extinction. Denise R. Hansen (Ed). London: Lolli Editions, 2020
The Revolution of the Sense-poor, Metropolis M issue 7 2020, Utrecht: Metropolis M, 2020
Entsorgung auf der Deponie. In: wildes wiederholen. material von unten. Suza Husse und Elske Rosenfeld (Eds.) Berlin: Archive Books, 2019
Agathe Bauer’s One-Way-Dialogue, In: Agathe Bauer Issue Zero, Berlin: TLTRpreß, 2019
Sleeping in Public, Working Like Babies, Technosphere Magazine #Trauma Issue, HKW Berlin, 2016
The Paradox of Progress, In: thenewinquiry.com, New York: The New Inquiry, 2015
Fist to Brain, In: thenewinquiry.com, New York: The New Inquiry, 2015
The Ghost of Participation. In: PALE Journal, #1, London, 2015
Sleeping in Public, In: How to Sleep Faster Issue 5, Tom Clark, Rozsa Farkas (Eds). London: Arcadia Missa Publications, 2014
Dinotasia, Dinotopia. Animationen ungreifbarer Tierkörper im Kino des Fortschritts. In: Chimaira AK (Eds.): Tiere_Bilder_Ökonomien. Bielefeld: Transkript, 2013
Verwende deine Nerven. In: Sarah Schönfeld – All you can feel. Bielefeld/ Berlin: Kerber, 2013
Back to the Now! And back again. In: Now! Extended. Berlin: AKV, 2013

Radio Plays as Author & Director

Industrie und Glück, 55 min, Bayrischer Rundfunk 2017
Funkstille (in collaboration with Joshua Wicke), 45 min, Deutschlandfunk 2015

Grants & Awards

Künstlerische Forschung, Research and Production Stipend, Berlin Senate, 2020-2021 
Research Stipend Performing Arts, Berlin Senate, 2019
Goethe Institute Beijing, Residency Stipend, 2017
Research Stipend Visual Art, Berlin Senate, 2016
Rupert Residency, Vilnius, 2016
Prix Marulic (Shortlist), International Radio Drama Award, with Funkstille, 2016
LICHTER Art Award (Shortlist), Lichter Filmfest Frankfurt am Main 2015
Golden Key (Shortlist), Kasseler Dokfest 2014



Anna Zett
Education2012: M.A. (Magister) Humboldt University Berlin: Cultural Anthropology, Gender Studies, Philosophy2010-2013: University of the Arts Berlin: Fine Art, Prof. Hito Steyerl2009-2010: Middlesex University London: Aesthetics and Art Theory, Moving Image (MA / Erasmus) 2004-2012: Humboldt University Berlin: Gender Studies, Cultural Anthropology, PhilosophySolo Exhibitions2019Hold On, Or Gallery, VancouverDeponie II, Zionskirche, Berlin2015Circuit Training, Banner Repeater, LondonResearch Drama, Sorbus Gallery, HelsinkiScreenings (Selection)2020Signals from Roots to Leaves. D-EST Video Platform, PAF Oblomov2019Artificial Gut Feeling, Reading & Screening by Anna Zett, Institute for Cultural Inquiry, BerlinFilms by Anna Zett, Julia Stoschek Collection, DüsseldorfVdrome.org, online screening in association with Serpetine Cinema, LondonRefraction of Light, SALT Beyoğlu, Istanbul2018At the End of the Game You Will Be Forgotten, Alyssa Davis Gallery, New York CityIts origins are indeterminate, series curated by Erik Martinson, Whitechapel Gallery London2017Data Carriers. Film program curated by Pakui Hardware, Center for Contemprary Art VilniusMene Mene Tekel Parsin. Screening curated by Jesse Darling, Somerset House Studios LondonSonic Acts Festival, AmsterdamColonial Crime Scenes. Union Docs, New York CityDeath Is Green, Dreamlands: Immersive Cinema and Art, Screening Program, Whitney Museum of American Art, New York City2016November Film Festival, LondonDgtl Fmnsm/ Cynetart Festival, Festspielhaus Hellerau DresdenTherapy Session, TENT, RotterdamÜber die Unmöglichkeit des Seins, Kunsthalle Exnergasse, WienThis Unwieldy Object: A Modern Research Drama by Anna Zett, Human Resources, Los AngelesMultiplex, Nuit Blance, TorontoBots, Bodies, Beasts, Studium Generale Rietveld Academie, Amsterdam2015Screen Matter, Moving image series, Lumiére Cinema, MaastrichtThe Earthbound, curated by Niekolaas J. Lekkerkerk, Cannonball MiamiThis Unwieldy Object, presented by The New Inquiry, Videology, New York CityMOVES Matinée, Image Movement, BerlinContagious Living, screening curated by Dora Budor, Fahrenheit, Los AngelesTomorrow‘s Film: Anna Zett, Galerie für zeitgenössische Kunst, LeipzigEssay Film Dissidents, curated by Kristof Trakal, Echo Park Film Center, Los AngelesSerpentine Cinema: Films by Rachel Rose and Anna Zett, Hackney Picturehouse, London2014Kasseler Dokfest, Documentary Film and Video Festival, KasselExtinct.ly/ Extinction Marathon: Visions of the Future, Serpentine and Sackler Gallery, LondonGroup Exhibitions 2018wildes wiederholen. material von unten. District, BerlinSpecies of Spaces, Karma Ltd., ACUD MACHT NEU, BerlinRiga Photography Biennial2017Repeats (figures and infrastructures), Sixty Eight Art Institute, Copenhagen 2016The Future Was Here, Æther, SofiaStaging Distance, Zeiss-Großplanetarium, Berlin 2015Spending Quality Time With My Quantified Self, TENT RotterdamGiving Up the Ghost, Transmission Gallery, GlasgowThe Eclipse of the Innocent Eye, Moving Image Department, National Gallery PragueCrystal Readings, curated by Gislind Köhler, Galerie Soy Capitán, BerlinVideonale.15, Festival for Contemporary Video Art, BonnBooksArtificial Gut Feeling, Divided Publishing, London/Brussels, 2019 Texts (Selection)Affinity Group. In: Tools for Extinction. Denise R. Hansen (Ed). London: Lolli Editions, 2020The Revolution of the Sense-poor, Metropolis M issue 7 2020, Utrecht: Metropolis M, 2020Entsorgung auf der Deponie. In: wildes wiederholen. material von unten. Suza Husse und Elske Rosenfeld (Eds.) Berlin: Archive Books, 2019Agathe Bauer’s One-Way-Dialogue, In: Agathe Bauer Issue Zero, Berlin: TLTRpreß, 2019Sleeping in Public, Working Like Babies, Technosphere Magazine #Trauma Issue, HKW Berlin, 2016The Paradox of Progress, In: thenewinquiry.com, New York: The New Inquiry, 2015Fist to Brain, In: thenewinquiry.com, New York: The New Inquiry, 2015The Ghost of Participation. In: PALE Journal, #1, London, 2015Sleeping in Public, In: How to Sleep Faster Issue 5, Tom Clark, Rozsa Farkas (Eds). London: Arcadia Missa Publications, 2014Dinotasia, Dinotopia. Animationen ungreifbarer Tierkörper im Kino des Fortschritts. In: Chimaira AK (Eds.): Tiere_Bilder_Ökonomien. Bielefeld: Transkript, 2013Verwende deine Nerven. In: Sarah Schönfeld – All you can feel. Bielefeld/ Berlin: Kerber, 2013Back to the Now! And back again. In: Now! Extended. Berlin: AKV, 2013Radio Plays as Author & DirectorIndustrie und Glück, 55 min, Bayrischer Rundfunk 2017Funkstille (in collaboration with Joshua Wicke), 45 min, Deutschlandfunk 2015Grants & AwardsKünstlerische Forschung, Research and Production Stipend, Berlin Senate, 2020-2021 Research Stipend Performing Arts, Berlin Senate, 2019Goethe Institute Beijing, Residency Stipend, 2017Research Stipend Visual Art, Berlin Senate, 2016Rupert Residency, Vilnius, 2016Prix Marulic (Shortlist), International Radio Drama Award, with Funkstille, 2016LICHTER Art Award (Shortlist), Lichter Filmfest Frankfurt am Main 2015Golden Key (Shortlist), Kasseler Dokfest 2014

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