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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

Julia Scher

Works


Galleries

Esther Schipper Gallery
Esther Schipper
Potsdamer Strasse 81E
10785 Berlin
Germany

Phone: +49 30 374433133
E-Mail: office@estherschipper.com




Biography

Education

B. A. Painting, Sculpture and Graphic Arts, Department of Art, University of California at Los Angeles, 1975
M.F.A. Studio Arts, Department of Fine Arts, University of Minnesota, Minneapolis, 1984

Solo exhibitions

2016
Natalia Hug Gallery, “WARNING : ALWAYS THERE”, Cologne Germany 15 January – 20 February, 2016

2009
European Kunsthalle “PE2 remix”, Cologne, Germany, September 11- 27

2004
White Box, New York, “Six Feet Under Make Nice”, concept by Larry Litt and Juan Puntes, organized by Raul Zamudio, July

2002
Andrea Rosen Gallery, NYC, “Security By Julia XLV: Security Landscapes“ September 5 – October 5, 2002
Schipper & Krome, Berlin, Germany, “Security By Julia XLVI” September 20 – November 9, 2002

2000
Schipper & Krome, Berlin, Germany, November 25 – December 22, 2000
Georg Kargl Gallery, Vienna, Austria, “wonderland”, October 31 – December 15, 2000
Andrea Rosen Gallery, NYC, June 9 – July 14, 2000

Selected group exhibitions

2017
Natalia Hug, Cologne, Summer
“Ronald Jones in Retrospect”, Kunstwerk, Berlin, May 19-
Esther Schipper, Berlin, November

2016
“Das Gespenst der Freiheit: 15 Einreichungen” WDR curated by Alex Wissel July – Aug 2016
“CAMERA(AUTO)CONTROLE” CENTRE DE LA PHOTOGRAPHIE GENEVE 1.6-31.7.2016 (catalogue)
“The Nineties” Frieze London Booth N11, October 6 – 9, 2016
“Film as Place” S.F.M.O.M.A., curated by Rudolf Frieling, San Francisco, California, May 15- October (web site)

2015
“Surveillance of a Sharing Society” Apexart Curatorial Program New York, NY 10013 June 4 – July 25 2015 (catalogue)
“Copy g_ods”, DREI, Cologne, December
ZKM Karlsrule, “Global Control and Censorship”, October 2015 – September 2016 (pamphlet)
“The Decade 1984-1999 Context 90’s”, Centre Pompidou Metz, France, June. (Catalogue)
“I.D. Theft”, The Scandinavian Institute, New York

2014
“Blue Times” Kunsthalle Wien, Museumquartier, Austria, November 14 – January 2015
“2041 Endlosschleife. Asstellung der Künstlermitglieder des Württemberischen Kunstvereins”, Württembergischer Kunstverein
Stuttgart, Stuttgart, Germany, August 23 – September 28, 2014.
“…on and on and on…” Salon Schmitz, Cologne, Germany, April 4 – July 5.
“Super Sonic Structure”, Sebastian Brandel and BBC, Cologne, Germany, January 23 – 30 March. (catalogue & DVD)
“Open Studio Tables”, at arte-e-parte, Escher Straße, Cologne, Germany.

2013
“17/13”, Salon Schmitz, Cologne, Germany, April 17 – July 17.
“A Brief History of Cologne”, ltd los angeles, Los Angeles, CA, May – June.
“NYC 1993: Experimental Jet Set, Trash and No Star”, New Museum, New York, NY, February -.Feb.13 – May.26

2012
“Best of All Worlds”, BBK, Cologne, Germany, December - February.
SIGINT group exhibition Cologne (Earth Toilet)

2011
Transprivacy, Düsseldorf, Public Art/Internet intervention project, Sept 1 – Nov 20; www.transprivacy.com
Social Photography II, Carriage Trade, New York, November – December
Kölnischer Kunstverein “Kjubh Kunstverein” September 15-24
“Dystopia”, CAPC musée d'art contemporain de Bordeaux, May 14 – Aug 28, 2011 curated by Alexis Vaillant and Mark von
Schlegell (catalogue) “Poster Project”
“Exposed: Voyeurism, Surveillance and the Camera Since 1870”, San Francisco Museum of Modern Art and Walker Art
Center, Minneapolis, www.walkerart.org (web site and catalogue)
e-flux Basel “Pawnshop at Kopfbau” Pawnshop Basel
June 15-19
(Benefit) 3 Security By Julia condoms stamped with “Security by Julia” on one side and “Don’t Worry” on the other, sitting in a
Wedgwood Bone China tea saucer, white, with Peacock design
comments:
— like the microwave ovens, another object domestiqué pour security/threat
“Deep Comedy”, Le Consortium, Dijon, June 9 – October 15, 2011; curated by Dan Graham.
“Phone Pix”, Carriage Trade, NYC, NY, April 1-May 1, 2011
“Art and Rememberance”, El De Haus, NS-Dok. Zentrum, Cologne, May 17 – June 22, 2011
“Your Name in Lights”, Australian Museum, Sydney, Australia / Kaldor Public Art Project, curated by John Baldessari,
January 8 – 30
“A Drawing Show”, Galerie Micheline Szwajcer, Brussels, Belgium

2010
“Social Photography”, Carriage Trade, New York, November 7 – December (catalogue)
“Von Mir Aus”, Salon Schmitz, Cologne Germany, April-May
“01-10 Zehn Jahre Linienstrasse”, Galerie Esther Schipper, Berlin, December 23, 2010 – January 22, 2011
“Exposed: Voyeurism, Surveillance and the Camera since 1870”, Tate Modern, London travel to San Francisco Museum of
Modern Art, May-October, Walker Art Center, Minneapolis MN, (web site and catalogue)

2009
“Gespinst”, Museum Abteiberg, Monchengladbach, September – November (catalogue)
“Jahresgaben 2009”, Kölner Kunstverein, Cologne (catalogue)

2008
Filo Art Show, Oct 2008
The Californian Biennal, High Desert Test Sites, Wonder Valley Institute of Contemporary Art, November 7, 2008 (catalogue)
“Surveillance and Discipline in Public Space”, The Kosova Art Gallery, December (catalogue)
“Deep Comedy” Marian Goodman Gallery, New York City, June –June. 25 – July.30
“Nina in Position”, Artists Space, January- February curated by Jeffrey Uslip

2007
“Deep Comedy”, Judd Ballroom, Marfa, Texas, March 23-July 15, travels to Marian Goodman Gallery, New York City, June 2008

2006
“Cyberfem,” Espai d’art contemporani de Castello (EACC), Spain, October 20 - December
Moyra Davey, Julia Scher, Screening, Wexner Center for the Arts, Columbus, Ohio, September 23
“The Look of Law”, University Art Gallery, UCIrvine, 28 September- October 20, curated by Simon Leung
“Show Me The Way to the Public Sphere”, Wiesbaden, Germany, July – October, curated by Martin Henatch
“Having Been Described in Words”, Orchard Gallery, January 22- New York, NY, January- curated by Bill Horrigan
“Fallout-Cold War Culture” Mitchell-Innes & Nash, New York City NY, March-April.

2005
“Dark Places”, Santa Monica Museum of Art, Santa Monica, CA, 22 October – 29 January 2006, curated by Joshua Decter
“Balance and Power- Performance and Surveillance in Video Art”, Krannert Art Museum, University of Illinois at Urbana-
Champain October 10 – December 31st, 2005 (catalogue) Travels to Rose Art Museum, Brandeis University, Boston, September 2006
“A Knock at the Door- Cities, Art and Recovery” South Street Seaport, Lower Manhattan Cultural Council, 8 September -1 October
“On Patrol” De Appel, Amsterdam, Holland, January 29 – March 20
“Log Cabin” Artists Space, New York City, January, curated by Jeffrey Uslip
“Artists from the University of Minnesota” Catherine Nash Gallery, University of Minnesota, Minneapolis, January
“Look Out” Joseloff Gallery University of Hartford, Hartford Connecticut, 26 January- 27 February
“Incognito”, Santa Monica Musum of Art

2004
“The Freedom Salon,” Deitch Projects August 28- September 4, 2004 (entry way installation regarding the election)
“Firewall”, Ausstellungshalle zeitgenössische Kunst Münster, June 27 – September 5, 2004, travels to Württembergische
Kunstverein Stuttgart January 25, 2005

2003
“At Your Own Risk”, Schirn Kunsthalle Frankfurt, June 27 – September 7, 2003 (catalogue)
“Phantom of Pleasure”, Neue Galerie am Landesmuseum Joanneum, Graz, Austria, April 26 – August 24, 2003 (catalogue)
“Witness: Theories of Seduction”, Dorsky Gallery, New York, February 9 – April 14, 2003, curated by Sue Scott (catalogue)
“The Affair is Over”, Andrea Rosen Gallery, NYC, February 28 – April 5, 2003.

2002
“POLITIK-UM / New Engagement“, Center for Contemporary Arts Prague, May 15th - June 10th, 2002 (catalogue)
“Metropolis Now”, Museo Nacional Centro de Artem Reina Sofia, Madrid, Spain, September 26 – October 15, 2002

2001
“CTRL Space”, ZKM: Center for Art and Media, Karlsruhe, Germany, October 13, 2001 – February 24, 2002
“ID/entity: Portraits in the 21st Century”, MIT Media Lab, Cambridge, MA, October 2 –31, 2001 travels to The Kitchen, New
York, NY, November 30 – December 2001, curated by Christina Yang (pamphlet)
“Metropolis Now”, Borusan Art & Cultural Center, Istanbul, Turkey, September 2001 (catalogue)
“New Settlements”, Nikolaj, Copenhagen Contemporary Art Center, Denmark curated by Jacob Frabricius, March 23 – May 6, 2001
“Pat Hearn Gallery: Part Two (1988 –1994)”, Pat Hearn Gallery, New York, February 3 – March 3, 2001

2000
“Quotidiana”, Catello di Rivoli, Torino, Italy; February 4 – May 21 , 2000
“Continuum 001”, CCA Glasgow, February 19 – March 18, 2000
“Presumed Innocent”, capcMusée d’art contemporain de Bordeaux, France, curated by Marie-Laure Bernadac and
Stephanie Moisdon, June 8 – September 30, 2000 (catalogue)
“Aussendienst”, Kunstverein, Hamburg, September 22 – October 29, 2000 (pamphlet and catalogue)

Film festivals and screenings

2017
VIDEONALE.16, Kunstmuseum Bonn, “lip sync 2015”, February 16 - 19
2015
Red Cat, Los Angeles, California, “Hotel Theory”, October 3- December 20
Wexner Center for the Arts, Columbus, Ohio “Perfect Conditions”, December
2011
Tate Modern, London, U.K. “No Cum Shot”
2010
Kölnischer Kunstverein, Kino in der Brücke, Cologne, “China City”, June 7; Berlin premiere September
2007
Wexner Center for the Arts, Columbus, Ohio, “Monologues”, Moyra Davey and Julia Scher, October 2- 31
2006
35TH International Film Festival Rotterdam, January 25- February 5
2004
Ann Arbor Film Festival, Ann Arbor Michigan, March 18

Outdoor installations

Ballroom Marfa,Texas 2007- present
City of Weisbaden, Germany 2006- present
PS1 M.O.M.A. Long Island City, New York 1997- 2011

Performances included in:

2017
“StriKING 5.0”, Videonale, Kunstmuseum Bonn, 18 January.
2016
“StriKING 4.0”, Schauspiel Haus, Cologne, 16 December.
STUDIO FOR PROPOSITIONAL CINEMA, Kunstverein Düsseldorf, October 28.
“StriKING 3.0” Drag-King-Night, Reinhaufen, Cologne, July 3.
2015
“StriKING 2.0” Drag-King-Night, Galerie MARTINETZ Cologne, December 15.
“Beyond Default” Nocturne 63 in der AULA der KHM, Cologne, October 22.
“PATCHBAY EXTENDED boolean disasters and ghostnik melodies” in der AULA der KHM, Cologne, May 15.
2014
opening remarks/Einführung on the occasion of “Full Saturation” students’ group show, Kunstpavilion Alter Boltanischer
Garten am Stachus, München, February 6.
2013
“Escapeology/Evacuation Tour”, “All Night at the Museum”, Museum Ludwig, Cologne, November 23.
“At the Alien Landing Pad”, outdoor performance and installation for “Die beste aller Welten/The Best of all Worlds”, Rhiel, September 4.
2012
“Art Beyond Earth Event Over Kunst and Astronomie”, Centrum voor Beeldende Kunst Drenthe, NL, December 14.
“STRIKING!1.0”, King Georg, Cologne, July 7.
“Alien Landing Pad Idea(s)”, Anschließen for Die beste aller Welten/The Best of all Worlds, BBK, Cologne, February 24.
2011
An ode to the difficulty of finding memory, performance-lecture for L'école de Stéphanie,
at Le Pritemps de Septembre – à Toulouse. Festival de création contemporaire, September 25.
Solar Sound Ensemble, with Andreas Hirsch, Hannes Hölzl, Tobias Grewenig, Matthias Muche, Volker Hennes,
at Soundlab, Astron Dwingeloo, NL.
“Work”, Lecture performance includes the video: “Crawling Lip Sync”, 2010.
2010
“Security/Insecurity”, Conference on Security Design, HfBK Hamburg, December 9, 2010.
“Surveillant Architectures” for L’Ecole de Stephanie, KW Institute for Contemporary Art, Berlin May 1, 2010.
2006
“Toxic Tour” for John Malpede’s “Come Together”, CAVS, MIT, Cambridge, MA, April 28.
“Toxic Tour” Boston, for M.I.T. 4.301, May 1.
“Rollover, Cingular Wireless” street performance with The Institute of Infinitely Small Things”, February.
2005
“The Truck, the Assailant and the X”, Venice Beach, California.
“The Sleeping Guard” on the occasion of the symposium “Evil” M.I.T., Cambridge, MA, organized by Ross Cisneros
2004
Actor/director, Security Girls, Münster, Germany on the occasion of the exhibition “Firewall”.
Director, Security mom and daughter team, on the occasion of the Basel Art Fair.
Actor, Tony Oursler’s “The Artist in His Studio”.
2003
Director for “Embedded” Shirn Kunsthalle, Frankfurt, Germany.
2002
“SBJ XLV, Security Landscape” inside the cage with invited audience.
2001
“Open Mouse, one hour of surveillance skins on screen + sounds of control attached, live meltings+ sonic commands”,
January 25, FUN, New York, NY.

Grants and awards

2016 Andrew W. Mellon Foundation Preservation Grant for Media Arts
2013,15 RheinEnergie Stiftung Kultur, Fellows Network Cologne/Nordrhein-Westfalen, Germany
2005 John F. Solomon Guggenheim Foundation Fellowship NY
1996 Bunting Fellowship for Surveillance Studies, Radcliffe/Harvard University, Cambridge, MA
1993 Art Matters, Inc. NY
1992 National Endowment for the Arts with Hallwalls, Buffalo NY
1989 Art Matters, Inc. NY
1988 Artists Space, Individual Artist Grant NY
Art Matters, Inc. NY
1987 Jerome Foundation Minnesota
Art Matters, Inc. NY

Julia Scher
Education B. A. Painting, Sculpture and Graphic Arts, Department of Art, University of California at Los Angeles, 1975 M.F.A. Studio Arts, Department of Fine Arts, University of Minnesota, Minneapolis, 1984 Solo exhibitions 2016 Natalia Hug Gallery, “WARNING : ALWAYS THERE”, Cologne Germany 15 January – 20 February, 2016 2009 European Kunsthalle “PE2 remix”, Cologne, Germany, September 11- 27 2004 White Box, New York, “Six Feet Under Make Nice”, concept by Larry Litt and Juan Puntes, organized by Raul Zamudio, July 2002 Andrea Rosen Gallery, NYC, “Security By Julia XLV: Security Landscapes“ September 5 – October 5, 2002 Schipper & Krome, Berlin, Germany, “Security By Julia XLVI” September 20 – November 9, 2002 2000 Schipper & Krome, Berlin, Germany, November 25 – December 22, 2000 Georg Kargl Gallery, Vienna, Austria, “wonderland”, October 31 – December 15, 2000 Andrea Rosen Gallery, NYC, June 9 – July 14, 2000 Selected group exhibitions 2017 Natalia Hug, Cologne, Summer “Ronald Jones in Retrospect”, Kunstwerk, Berlin, May 19- Esther Schipper, Berlin, November 2016 “Das Gespenst der Freiheit: 15 Einreichungen” WDR curated by Alex Wissel July – Aug 2016 “CAMERA(AUTO)CONTROLE” CENTRE DE LA PHOTOGRAPHIE GENEVE 1.6-31.7.2016 (catalogue) “The Nineties” Frieze London Booth N11, October 6 – 9, 2016 “Film as Place” S.F.M.O.M.A., curated by Rudolf Frieling, San Francisco, California, May 15- October (web site) 2015 “Surveillance of a Sharing Society” Apexart Curatorial Program New York, NY 10013 June 4 – July 25 2015 (catalogue) “Copy g_ods”, DREI, Cologne, December ZKM Karlsrule, “Global Control and Censorship”, October 2015 – September 2016 (pamphlet) “The Decade 1984-1999 Context 90’s”, Centre Pompidou Metz, France, June. (Catalogue) “I.D. Theft”, The Scandinavian Institute, New York 2014 “Blue Times” Kunsthalle Wien, Museumquartier, Austria, November 14 – January 2015 “2041 Endlosschleife. Asstellung der Künstlermitglieder des Württemberischen Kunstvereins”, Württembergischer Kunstverein Stuttgart, Stuttgart, Germany, August 23 – September 28, 2014. “…on and on and on…” Salon Schmitz, Cologne, Germany, April 4 – July 5. “Super Sonic Structure”, Sebastian Brandel and BBC, Cologne, Germany, January 23 – 30 March. (catalogue & DVD) “Open Studio Tables”, at arte-e-parte, Escher Straße, Cologne, Germany. 2013 “17/13”, Salon Schmitz, Cologne, Germany, April 17 – July 17. “A Brief History of Cologne”, ltd los angeles, Los Angeles, CA, May – June. “NYC 1993: Experimental Jet Set, Trash and No Star”, New Museum, New York, NY, February -.Feb.13 – May.26 2012 “Best of All Worlds”, BBK, Cologne, Germany, December - February. SIGINT group exhibition Cologne (Earth Toilet) 2011 Transprivacy, Düsseldorf, Public Art/Internet intervention project, Sept 1 – Nov 20; www.transprivacy.com Social Photography II, Carriage Trade, New York, November – December Kölnischer Kunstverein “Kjubh Kunstverein” September 15-24 “Dystopia”, CAPC musée d'art contemporain de Bordeaux, May 14 – Aug 28, 2011 curated by Alexis Vaillant and Mark von Schlegell (catalogue) “Poster Project” “Exposed: Voyeurism, Surveillance and the Camera Since 1870”, San Francisco Museum of Modern Art and Walker Art Center, Minneapolis, www.walkerart.org (web site and catalogue) e-flux Basel “Pawnshop at Kopfbau” Pawnshop Basel June 15-19 (Benefit) 3 Security By Julia condoms stamped with “Security by Julia” on one side and “Don’t Worry” on the other, sitting in a Wedgwood Bone China tea saucer, white, with Peacock design comments: — like the microwave ovens, another object domestiqué pour security/threat “Deep Comedy”, Le Consortium, Dijon, June 9 – October 15, 2011; curated by Dan Graham. “Phone Pix”, Carriage Trade, NYC, NY, April 1-May 1, 2011 “Art and Rememberance”, El De Haus, NS-Dok. Zentrum, Cologne, May 17 – June 22, 2011 “Your Name in Lights”, Australian Museum, Sydney, Australia / Kaldor Public Art Project, curated by John Baldessari, January 8 – 30 “A Drawing Show”, Galerie Micheline Szwajcer, Brussels, Belgium 2010 “Social Photography”, Carriage Trade, New York, November 7 – December (catalogue) “Von Mir Aus”, Salon Schmitz, Cologne Germany, April-May “01-10 Zehn Jahre Linienstrasse”, Galerie Esther Schipper, Berlin, December 23, 2010 – January 22, 2011 “Exposed: Voyeurism, Surveillance and the Camera since 1870”, Tate Modern, London travel to San Francisco Museum of Modern Art, May-October, Walker Art Center, Minneapolis MN, (web site and catalogue) 2009 “Gespinst”, Museum Abteiberg, Monchengladbach, September – November (catalogue) “Jahresgaben 2009”, Kölner Kunstverein, Cologne (catalogue) 2008 Filo Art Show, Oct 2008 The Californian Biennal, High Desert Test Sites, Wonder Valley Institute of Contemporary Art, November 7, 2008 (catalogue) “Surveillance and Discipline in Public Space”, The Kosova Art Gallery, December (catalogue) “Deep Comedy” Marian Goodman Gallery, New York City, June –June. 25 – July.30 “Nina in Position”, Artists Space, January- February curated by Jeffrey Uslip 2007 “Deep Comedy”, Judd Ballroom, Marfa, Texas, March 23-July 15, travels to Marian Goodman Gallery, New York City, June 2008 2006 “Cyberfem,” Espai d’art contemporani de Castello (EACC), Spain, October 20 - December Moyra Davey, Julia Scher, Screening, Wexner Center for the Arts, Columbus, Ohio, September 23 “The Look of Law”, University Art Gallery, UCIrvine, 28 September- October 20, curated by Simon Leung “Show Me The Way to the Public Sphere”, Wiesbaden, Germany, July – October, curated by Martin Henatch “Having Been Described in Words”, Orchard Gallery, January 22- New York, NY, January- curated by Bill Horrigan “Fallout-Cold War Culture” Mitchell-Innes & Nash, New York City NY, March-April. 2005 “Dark Places”, Santa Monica Museum of Art, Santa Monica, CA, 22 October – 29 January 2006, curated by Joshua Decter “Balance and Power- Performance and Surveillance in Video Art”, Krannert Art Museum, University of Illinois at Urbana- Champain October 10 – December 31st, 2005 (catalogue) Travels to Rose Art Museum, Brandeis University, Boston, September 2006 “A Knock at the Door- Cities, Art and Recovery” South Street Seaport, Lower Manhattan Cultural Council, 8 September -1 October “On Patrol” De Appel, Amsterdam, Holland, January 29 – March 20 “Log Cabin” Artists Space, New York City, January, curated by Jeffrey Uslip “Artists from the University of Minnesota” Catherine Nash Gallery, University of Minnesota, Minneapolis, January “Look Out” Joseloff Gallery University of Hartford, Hartford Connecticut, 26 January- 27 February “Incognito”, Santa Monica Musum of Art 2004 “The Freedom Salon,” Deitch Projects August 28- September 4, 2004 (entry way installation regarding the election) “Firewall”, Ausstellungshalle zeitgenössische Kunst Münster, June 27 – September 5, 2004, travels to Württembergische Kunstverein Stuttgart January 25, 2005 2003 “At Your Own Risk”, Schirn Kunsthalle Frankfurt, June 27 – September 7, 2003 (catalogue) “Phantom of Pleasure”, Neue Galerie am Landesmuseum Joanneum, Graz, Austria, April 26 – August 24, 2003 (catalogue) “Witness: Theories of Seduction”, Dorsky Gallery, New York, February 9 – April 14, 2003, curated by Sue Scott (catalogue) “The Affair is Over”, Andrea Rosen Gallery, NYC, February 28 – April 5, 2003. 2002 “POLITIK-UM / New Engagement“, Center for Contemporary Arts Prague, May 15th - June 10th, 2002 (catalogue) “Metropolis Now”, Museo Nacional Centro de Artem Reina Sofia, Madrid, Spain, September 26 – October 15, 2002 2001 “CTRL Space”, ZKM: Center for Art and Media, Karlsruhe, Germany, October 13, 2001 – February 24, 2002 “ID/entity: Portraits in the 21st Century”, MIT Media Lab, Cambridge, MA, October 2 –31, 2001 travels to The Kitchen, New York, NY, November 30 – December 2001, curated by Christina Yang (pamphlet) “Metropolis Now”, Borusan Art & Cultural Center, Istanbul, Turkey, September 2001 (catalogue) “New Settlements”, Nikolaj, Copenhagen Contemporary Art Center, Denmark curated by Jacob Frabricius, March 23 – May 6, 2001 “Pat Hearn Gallery: Part Two (1988 –1994)”, Pat Hearn Gallery, New York, February 3 – March 3, 2001 2000 “Quotidiana”, Catello di Rivoli, Torino, Italy; February 4 – May 21 , 2000 “Continuum 001”, CCA Glasgow, February 19 – March 18, 2000 “Presumed Innocent”, capcMusée d’art contemporain de Bordeaux, France, curated by Marie-Laure Bernadac and Stephanie Moisdon, June 8 – September 30, 2000 (catalogue) “Aussendienst”, Kunstverein, Hamburg, September 22 – October 29, 2000 (pamphlet and catalogue) Film festivals and screenings 2017 VIDEONALE.16, Kunstmuseum Bonn, “lip sync 2015”, February 16 - 19 2015 Red Cat, Los Angeles, California, “Hotel Theory”, October 3- December 20 Wexner Center for the Arts, Columbus, Ohio “Perfect Conditions”, December 2011 Tate Modern, London, U.K. “No Cum Shot” 2010 Kölnischer Kunstverein, Kino in der Brücke, Cologne, “China City”, June 7; Berlin premiere September 2007 Wexner Center for the Arts, Columbus, Ohio, “Monologues”, Moyra Davey and Julia Scher, October 2- 31 2006 35TH International Film Festival Rotterdam, January 25- February 5 2004 Ann Arbor Film Festival, Ann Arbor Michigan, March 18 Outdoor installations Ballroom Marfa,Texas 2007- present City of Weisbaden, Germany 2006- present PS1 M.O.M.A. Long Island City, New York 1997- 2011 Performances included in: 2017 “StriKING 5.0”, Videonale, Kunstmuseum Bonn, 18 January. 2016 “StriKING 4.0”, Schauspiel Haus, Cologne, 16 December. STUDIO FOR PROPOSITIONAL CINEMA, Kunstverein Düsseldorf, October 28. “StriKING 3.0” Drag-King-Night, Reinhaufen, Cologne, July 3. 2015 “StriKING 2.0” Drag-King-Night, Galerie MARTINETZ Cologne, December 15. “Beyond Default” Nocturne 63 in der AULA der KHM, Cologne, October 22. “PATCHBAY EXTENDED boolean disasters and ghostnik melodies” in der AULA der KHM, Cologne, May 15. 2014 opening remarks/Einführung on the occasion of “Full Saturation” students’ group show, Kunstpavilion Alter Boltanischer Garten am Stachus, München, February 6. 2013 “Escapeology/Evacuation Tour”, “All Night at the Museum”, Museum Ludwig, Cologne, November 23. “At the Alien Landing Pad”, outdoor performance and installation for “Die beste aller Welten/The Best of all Worlds”, Rhiel, September 4. 2012 “Art Beyond Earth Event Over Kunst and Astronomie”, Centrum voor Beeldende Kunst Drenthe, NL, December 14. “STRIKING!1.0”, King Georg, Cologne, July 7. “Alien Landing Pad Idea(s)”, Anschließen for Die beste aller Welten/The Best of all Worlds, BBK, Cologne, February 24. 2011 An ode to the difficulty of finding memory, performance-lecture for L'école de Stéphanie, at Le Pritemps de Septembre – à Toulouse. Festival de création contemporaire, September 25. Solar Sound Ensemble, with Andreas Hirsch, Hannes Hölzl, Tobias Grewenig, Matthias Muche, Volker Hennes, at Soundlab, Astron Dwingeloo, NL. “Work”, Lecture performance includes the video: “Crawling Lip Sync”, 2010. 2010 “Security/Insecurity”, Conference on Security Design, HfBK Hamburg, December 9, 2010. “Surveillant Architectures” for L’Ecole de Stephanie, KW Institute for Contemporary Art, Berlin May 1, 2010. 2006 “Toxic Tour” for John Malpede’s “Come Together”, CAVS, MIT, Cambridge, MA, April 28. “Toxic Tour” Boston, for M.I.T. 4.301, May 1. “Rollover, Cingular Wireless” street performance with The Institute of Infinitely Small Things”, February. 2005 “The Truck, the Assailant and the X”, Venice Beach, California. “The Sleeping Guard” on the occasion of the symposium “Evil” M.I.T., Cambridge, MA, organized by Ross Cisneros 2004 Actor/director, Security Girls, Münster, Germany on the occasion of the exhibition “Firewall”. Director, Security mom and daughter team, on the occasion of the Basel Art Fair. Actor, Tony Oursler’s “The Artist in His Studio”. 2003 Director for “Embedded” Shirn Kunsthalle, Frankfurt, Germany. 2002 “SBJ XLV, Security Landscape” inside the cage with invited audience. 2001 “Open Mouse, one hour of surveillance skins on screen + sounds of control attached, live meltings+ sonic commands”, January 25, FUN, New York, NY. Grants and awards 2016 Andrew W. Mellon Foundation Preservation Grant for Media Arts 2013,15 RheinEnergie Stiftung Kultur, Fellows Network Cologne/Nordrhein-Westfalen, Germany 2005 John F. Solomon Guggenheim Foundation Fellowship NY 1996 Bunting Fellowship for Surveillance Studies, Radcliffe/Harvard University, Cambridge, MA 1993 Art Matters, Inc. NY 1992 National Endowment for the Arts with Hallwalls, Buffalo NY 1989 Art Matters, Inc. NY 1988 Artists Space, Individual Artist Grant NY Art Matters, Inc. NY 1987 Jerome Foundation Minnesota Art Matters, Inc. NY

Julia Scher
lip sync 2015

Artist Julia Scher
Year 2016
Duration 3:47 min
Technical info 16:9 colour, sound, single-channel video
Contact
Esther Schipper Gallery
Esther Schipper
Potsdamer Strasse 81E
10785 Berlin
Germany

Phone: +49 30 374433133
E-Mail: office@estherschipper.com

About the video

Please take the audio source for Miley Cyrus "Wrecking Ball" via youtube.

In her video work lip sync 2015, Julia Scher shines a light on the contradictory feelings that arise in the face of 21st century surveillance – from voluntary posing in front of the camera to the desperate and hopeless attempt to flee back into the private sphere. Against the backdrop of an apparently unassuming office corridor, we become observers and witnesses of a deliberately amateurish performance of Miley Cyrus’ »Wrecking Ball«. Scher uses the verses and choruses as points of orientation, though her performance develops a narrative of its own. The work is part of a series of earlier works of the same name by the US-American artist. Unlike her earlier works, however, this video turns into a game of cat and mouse between the camera and the protagonist. The home movie aesthetic gives the performance an intimate feel, yet the omnipresence of the viewer, embodied by the camera operator, punctures this privacy. We only catch fleeting glimpses of this camera operator, who stands in for the anonymous audience to whom the artist exposes herself. At the same time, the LED-illuminated everyday world of the office building removes the performance from the safety of the familiar environment that this kind of performance seems to demand. The apparently unassuming woman, who initially enthusiastically moves her lips and body in time with the music, soon begins to flee the camera. At first, she is brave enough to turn her back on her pursuer. Gradually, she sheds her naivety, becoming increasingly distrustful of the camera for which she had previously so willingly performed. An urgent reminder that the threat behind the camera often seems more harmless than it really is.

Marie Hunanyan

Julia Scher - lip sync 2015
Please take the audio source for Miley Cyrus Wrecking Ball via youtube.In her video work lip sync 2015, Julia Scher shines a light on the contradictory feelings that arise in the face of 21st century surveillance – from voluntary posing in front of the camera to the desperate and hopeless attempt to flee back into the private sphere. Against the backdrop of an apparently unassuming office corridor, we become observers and witnesses of a deliberately amateurish performance of Miley Cyrus’ »Wrecking Ball«. Scher uses the verses and choruses as points of orientation, though her performance develops a narrative of its own. The work is part of a series of earlier works of the same name by the US-American artist. Unlike her earlier works, however, this video turns into a game of cat and mouse between the camera and the protagonist. The home movie aesthetic gives the performance an intimate feel, yet the omnipresence of the viewer, embodied by the camera operator, punctures this privacy. We only catch fleeting glimpses of this camera operator, who stands in for the anonymous audience to whom the artist exposes herself. At the same time, the LED-illuminated everyday world of the office building removes the performance from the safety of the familiar environment that this kind of performance seems to demand. The apparently unassuming woman, who initially enthusiastically moves her lips and body in time with the music, soon begins to flee the camera. At first, she is brave enough to turn her back on her pursuer. Gradually, she sheds her naivety, becoming increasingly distrustful of the camera for which she had previously so willingly performed. An urgent reminder that the threat behind the camera often seems more harmless than it really is.Marie Hunanyan

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