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

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


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

Moving Images / Moving Bodies

 ‘Moving Images Bulgaria-Germany’ is a project by Goethe-Institut Bulgaria, that includes various online and offline initiatives, starting in November 2020. The online program, realised in partnership with blinkvideo, will consist of two curated programmes: “Moving Images / Moving Bodies”, curated by Ludwig Seyfarth, and “Shooting Ghosts”, curated by Krassimir Terziev and Kalin Serapionov.

First the programme “Shooting Ghosts” will give a selected overview of video art in Bulgaria in general. The programme will be accompanied by an in-depth essay by Krassimir Terziev as well as texts by different authors or the artists themselves on individual films.

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

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

Something Between Us
KAI 10 | ARTHENA FOUNDATION, Düsseldorf

The exhibition „Something Between Us“ focuses on both our contemporary lives and the anthropological constants of interpersonal dealings: love, empathy, security, care and safety on the one hand, and hate, role fixation, dependency, reprimand and exclusion on the other. Something Between Us asks how these structures of togetherness are changing in our digital era.
Thomas Taube OCCIDENT, 2020

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

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.

Stefano Miraglia: Hey Blinkvideo members! Here are my eight "must watch" films and videos. Happy to find in this catalogue some of the works that got me interested in artists' moving image when I was a student! (Guillaume Leblon! Daniel Steegmann Mangrané! Marylène Negro!).

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

Featured videos

Markus Vater
Im Wald (perfect day), 2011

This Animation has developed from a colloboration with the dutch poet Tjitske Jansen. Initially it reacted on a text of hers dealing with memories in her life. All memories were about events in which she didn’t understand the concepts and actions that had happened, but which she understands now.

Pratchaya Phinthong
A proposal to set (work in progress), 2016

A proposal to set CH4*5.75H20 on fire (work in progress) is an ongoing project that explores methane hydrate, an ice compound that has been identified by scientists as an alternative fuel of future energy. Found in large quantities beneath Arctic permafrost, Antarctic ice and sedimentary deposits, methane hydrate releases natural gas when exposed to increases in temperature or decreases in pressure.Gas released by methane hydrates can be lit, which produces a semi-transparent orange and blue flame.This 16 mm film shows samples of methane hydrates.Through the mobilisation and connection of individuals working across geology, science and art, the project generates awareness of methane hydrate, its chemically volatile nature and implications for energy industries.The film itself performs a kind of material transfer, capturing light emitted by the burning samples and projecting it into the gallery space. For Phinthong, each iteration of the project is a form of extraction that makes its subject more widely visible. Filmed by Phuttipong Aroonpheng. Made with the support of Oleg Blouson,Andrey Khabuev and Oleg Khlystov at the Limnological Institute, Irkutsk, Russia.

Ryan Gander
And You Will be Changed , 2014

'And You Will be Changed (Centre Pompidou, Paris)', 2014, follows curator Emma Lavigne around the empty Centre Pompidou in Paris as she presents the viewer with a tour of an empty space that had housed a now uninstalled Pierre Huyghe exhibition. The show is imagined and told by Lavigne as if the artworks were still there. Exhibited: - Pierre Huyghe +/–,The Artist’s Institute, New York, 2014
- Nouveau Festival (5th Edition), Musée d’Art Moderne, Centre Pompidou, Paris, 2014

Deimantas Narkevicius
Ausgeträumt, 2010

The German word ‘Ausgeträumt’ means a state between dream and reality at the point of waking up.The very first creative attempts by any artist are usually very positive, unaffected by criticism, even naive activities. Refering to myself, I had to be absolutely naive to choose to be a visual artist, in the late 80's when in the Soviet Union, everything was falling apart. There was no precedent of success, or an example to follow in the country which was still isolated. With this film I am re-approaching the state of naivety.

Katja Aufleger
LOVE AFFAIR, 2017

Several lights get shot successively. Some crush at once, quiet or with a blast, others seem like trying not to die.

Janet Biggs
Vanishing point, 2009

Luzia Hürzeler
Being in the Picture, 2007/08

Im Bilde sein [Being in the Picture] is a video installation. The monitor stands on a two-meter-high plinth. The video shows a white wall in front of which my head becomes visible, fully or partially, at short or long intervals. I keep jumping up into the picture, making myself visible through physical activity. These efforts become apparent through the sounds. The jumping height, and thus my visibility, decreases over time, until I finally give up through exhaustion.On the occasion of the exhibition “Spazi aperti” this work was displayed in the entrance hall of the Romanian Academy in Rome, where a number of monumental busts are mounted on plinths.

Johanna Reich
Horizon, 2012

The artist is drawing a line onto a white surface. The line reveals the horizon: it separates the sea from the sky. "To draw a line": this phrase already linguistically contains many different meanings. Beginning with the famous line – the one that cannot be crossed politically – via the (guide)line that is also the conceptual standard, to the simple strike placed beneath an addition, these are key points on the spectrum.“When Johanna Reich draws a line with a broad brush onto a wall, additional content comes into play. There is the track which children draw onto the wall with chalk, the traditional artist myth of the line as a vivid track of creative process, and last but not least the powerfully picturesque action of splattering the wall.”(Johannes Stahl)Johanna Reich (*1977 Minden) studied at the Kunstakademie Münster, the HfbK Hamburg and the Kunsthochschule für Medien Köln. She lives and works in Cologne.

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Larissa Sansour

Works


Galleries

mec film (middle eastern cinemas)
Irit Neidhardt
Emdener Str. 48d
10551 Berlin
Germany

Phone: 49-(0)30-66766700
E-Mail: irit@mecfilm.de




Biography

Education

2000 MA in Fine Art, New York University, New York, USA.
1999 Visiting student, The Royal Art Academy, Copenhagen, Denmark.
1998 Art History and Criticism. University of Baltimore, Maryland County, USA.
1995 BFA. Maryland Institute College of Art, Baltimore, Maryland, USA.
1992 Concentration in Figurative Art, Byam Shaw, London, UK.

Solo exhibitions

2017
In the Future They Ate From the Finest Porcelain, The Bluecoat, Liverpool, UK. (upcoming)
In the Future They Ate From the Finest Porcelain, Montoro 12, Rome, Italy.

2016
In the Future They Ate From the Finest Porcelain, Nikolaj Kunsthal, Copenhagen, Denmark.
In the Future They Ate From the Finest Porcelain, New Art Exchange, Nottingham, UK.
In the Future They Ate From the Finest Porcelain, Lawrie Shabibi, Dubai, UAE.
In the Future They Ate From the Finest Porcelain, Sabrina Amrani Gallery, Madrid, Spain.
In the Future They Ate From the Finest Porcelain, Mosaic Rooms, London, UK.
In the Future They Ate From the Finest Porcelain, Wolverhampton Art Gallery, UK.

2015
Nation Estate, Montoro 12, Rome, Italy.
Nation Estate, Al Ma’mal, Jerusalem, Palestine.

2014
Nation Estate, Wolverhampton Art Gallery, Wolverhampton, UK.
Larissa Sansour, Gallery Dock, Bratislava, Slovakia.

2013
A Moon Without a People, Sabrina Amrani Gallery, Madrid, Spain.
Science Faction, Lawrie Shabibi, Dubai, UAE.
Nation Estate, Turku Art Museum, Turku, Finland.

2012
Nation Estate, Galerie Anne de Villepoix, Paris, France.
Living the High Life, Centre of Photography, Copenhagen, Denmark.

2011
Falafel Road, Depo, Istanbul, Turkey.

Group exhibitions

2017
Waste Lands, Museo San Telmo, Spain.
Identity, Avesta Art, Sweden.

2016
Social Calligraphies: East – West, Zacheta National Gallery of Art, Warsaw, Poland.
For an Image, Faster Than Light, Yinchuan Biennial, Yinchuan, China.
XX Bienal Internacional de Artes Visuales de Santa Cruz de la Sierra, Bolivia.
The Sea Is Mine, Qalandiya International, Palestine.
Technologies of Violence, Arts Santa Monica, Barcelona, Spain.
Ideologue, UMOCA, Salt Lake City, Utah, USA.
The Future of Visions – Don’t Expect Anything, Kunsthalle Osnabrück, Germany.
Waste Lands, Es Baluard, Palma, Spain.
Dans la Lune, le Bel Ordinaire, Billére, France.
Cut with the Kitchen Knife through the Raw Future of 100 Years Before, Spatiu Intact, Cluj, Transylvania, Romania.
Ingrediens -er, Varbergs Konsthall, Varberg, Sweden.
La Palestine a l’IMA, Institut du Monde Arabe, Paris, France.
Imagine Science, Abu Dhabi, UAE.

2015
Home Ground, Aga Khan Museum, Toronto, Canada.
Feminis Arte III, Centro Centro, Madrid, Spain.
Phase Space, Kings ARI, Melbourne, Australia.
Videorama, Werkleitz, Halle, Germany.
Space Between Our Fingers, Ashkal Alwan, Beirut, Lebanon.
Culture of Peace, Lajevardi Collection, Tehran, Iran.
La terre nous est étroite, Le 19, Montbéliard, France.

2014
Science Fiction: New Death, FACT, Liverpool, UK.
5th Orient Art Express, Oujda, Morocco.
The Moving Museum, Istanbul, Turkey.
The Public Domain, Delfina Foundation, London, UK.
Displacement, City of Women, Ljubljana, Slovenia.
Simple Past, Present Futures, 104, Paris, France.
The Sensory War: 1914-2014, Manchester Art Gallery, Manchester, UK.
How Green Was My Valley, White Box, NYC, USA.
TIME::CODE, White Box, NYC, USA.

2013
Le Noir et le Bleu; MuCEM, Marseille, France.
The Shadows Took Shape, Studio Museum in Harlem, NYC, USA.
Beyond the Cloth, White Box, NYC, USA.
Palestine, Contemporary Arts Centre of South Australia, Adelaide, Australia.
I exist (in some way), The Bluecoat, Liverpool, UK.

2012
Come Together, Edge of Arabia, Old Truman Brewery, London, UK.
Alienation, Maraya Arts Centre, Sharjah, UAE.
I’m Not There, CIC/Townhouse, Cairo, Egypt.
Beyond the Last Sky, Australian Centre for Photography, Sydney, Australia
Cultural Olympiad, London, UK.
Subversion, Cornerhouse, Manchester, UK.

2011
LIVING, Louisiana Museum of Contemporary Art, Denmark.
Incheon Women Artists’ Biennial, South Korea.
A Window to the World, Hiroshima MOCA, Hiroshima, Japan.
What Is Contemporary Art?, Museum of Contemporary Art, Roskilde, Denmark.

2010
The Liverpool Biennial, Liverpool, UK.

Filmography

In the Future They Ate From the Finest Porcelain, 29’, 2016
Nation Estate, 9’ 02’’, 2012
Feast of the Inhabitants, 15’, 2012
Trespass the Salt, 10’, with Youmna Chlala, 2011
Falafel Road, 60’, with Oreet Ashery, 2011
A Space Exodus, 5’ 24’’, 2009
SBARA, 8’ 30’’, short film, 2008
Soup Over Bethlehem, 9’ 30’’, 2007
Happy Days, 2’ 30’’, 2006
Bethlehem Bandolero, 5’ 12’’, 2005

Larissa Sansour
Education 2000 MA in Fine Art, New York University, New York, USA. 1999 Visiting student, The Royal Art Academy, Copenhagen, Denmark. 1998 Art History and Criticism. University of Baltimore, Maryland County, USA. 1995 BFA. Maryland Institute College of Art, Baltimore, Maryland, USA. 1992 Concentration in Figurative Art, Byam Shaw, London, UK. Solo exhibitions 2017 In the Future They Ate From the Finest Porcelain, The Bluecoat, Liverpool, UK. (upcoming) In the Future They Ate From the Finest Porcelain, Montoro 12, Rome, Italy. 2016 In the Future They Ate From the Finest Porcelain, Nikolaj Kunsthal, Copenhagen, Denmark. In the Future They Ate From the Finest Porcelain, New Art Exchange, Nottingham, UK. In the Future They Ate From the Finest Porcelain, Lawrie Shabibi, Dubai, UAE. In the Future They Ate From the Finest Porcelain, Sabrina Amrani Gallery, Madrid, Spain. In the Future They Ate From the Finest Porcelain, Mosaic Rooms, London, UK. In the Future They Ate From the Finest Porcelain, Wolverhampton Art Gallery, UK. 2015 Nation Estate, Montoro 12, Rome, Italy. Nation Estate, Al Ma’mal, Jerusalem, Palestine. 2014 Nation Estate, Wolverhampton Art Gallery, Wolverhampton, UK. Larissa Sansour, Gallery Dock, Bratislava, Slovakia. 2013 A Moon Without a People, Sabrina Amrani Gallery, Madrid, Spain. Science Faction, Lawrie Shabibi, Dubai, UAE. Nation Estate, Turku Art Museum, Turku, Finland. 2012 Nation Estate, Galerie Anne de Villepoix, Paris, France. Living the High Life, Centre of Photography, Copenhagen, Denmark. 2011 Falafel Road, Depo, Istanbul, Turkey. Group exhibitions 2017 Waste Lands, Museo San Telmo, Spain. Identity, Avesta Art, Sweden. 2016 Social Calligraphies: East – West, Zacheta National Gallery of Art, Warsaw, Poland. For an Image, Faster Than Light, Yinchuan Biennial, Yinchuan, China. XX Bienal Internacional de Artes Visuales de Santa Cruz de la Sierra, Bolivia. The Sea Is Mine, Qalandiya International, Palestine. Technologies of Violence, Arts Santa Monica, Barcelona, Spain. Ideologue, UMOCA, Salt Lake City, Utah, USA. The Future of Visions – Don’t Expect Anything, Kunsthalle Osnabrück, Germany. Waste Lands, Es Baluard, Palma, Spain. Dans la Lune, le Bel Ordinaire, Billére, France. Cut with the Kitchen Knife through the Raw Future of 100 Years Before, Spatiu Intact, Cluj, Transylvania, Romania. Ingrediens -er, Varbergs Konsthall, Varberg, Sweden. La Palestine a l’IMA, Institut du Monde Arabe, Paris, France. Imagine Science, Abu Dhabi, UAE. 2015 Home Ground, Aga Khan Museum, Toronto, Canada. Feminis Arte III, Centro Centro, Madrid, Spain. Phase Space, Kings ARI, Melbourne, Australia. Videorama, Werkleitz, Halle, Germany. Space Between Our Fingers, Ashkal Alwan, Beirut, Lebanon. Culture of Peace, Lajevardi Collection, Tehran, Iran. La terre nous est étroite, Le 19, Montbéliard, France. 2014 Science Fiction: New Death, FACT, Liverpool, UK. 5th Orient Art Express, Oujda, Morocco. The Moving Museum, Istanbul, Turkey. The Public Domain, Delfina Foundation, London, UK. Displacement, City of Women, Ljubljana, Slovenia. Simple Past, Present Futures, 104, Paris, France. The Sensory War: 1914-2014, Manchester Art Gallery, Manchester, UK. How Green Was My Valley, White Box, NYC, USA. TIME::CODE, White Box, NYC, USA. 2013 Le Noir et le Bleu; MuCEM, Marseille, France. The Shadows Took Shape, Studio Museum in Harlem, NYC, USA. Beyond the Cloth, White Box, NYC, USA. Palestine, Contemporary Arts Centre of South Australia, Adelaide, Australia. I exist (in some way), The Bluecoat, Liverpool, UK. 2012 Come Together, Edge of Arabia, Old Truman Brewery, London, UK. Alienation, Maraya Arts Centre, Sharjah, UAE. I’m Not There, CIC/Townhouse, Cairo, Egypt. Beyond the Last Sky, Australian Centre for Photography, Sydney, Australia Cultural Olympiad, London, UK. Subversion, Cornerhouse, Manchester, UK. 2011 LIVING, Louisiana Museum of Contemporary Art, Denmark. Incheon Women Artists’ Biennial, South Korea. A Window to the World, Hiroshima MOCA, Hiroshima, Japan. What Is Contemporary Art?, Museum of Contemporary Art, Roskilde, Denmark. 2010 The Liverpool Biennial, Liverpool, UK. Filmography In the Future They Ate From the Finest Porcelain, 29’, 2016 Nation Estate, 9’ 02’’, 2012 Feast of the Inhabitants, 15’, 2012 Trespass the Salt, 10’, with Youmna Chlala, 2011 Falafel Road, 60’, with Oreet Ashery, 2011 A Space Exodus, 5’ 24’’, 2009 SBARA, 8’ 30’’, short film, 2008 Soup Over Bethlehem, 9’ 30’’, 2007 Happy Days, 2’ 30’’, 2006 Bethlehem Bandolero, 5’ 12’’, 2005

Larissa Sansour
In the Future They Ate From the Finest Porcelain

Artist Larissa Sansour
Year 2015
Duration 28:30 min
Contact
mec film (middle eastern cinemas)
Irit Neidhardt
Emdener Str. 48d
10551 Berlin
Germany

Phone: 49-(0)30-66766700
E-Mail: irit@mecfilm.de

About the video

In the Future They Ate From the Finest Porcelain resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity.

A narrative resistance group makes underground deposits of elaborate porcelain – suggested to belong to an entirely fictional civilization. Their aim is to influence history and support future claims to their vanishing lands.

Palestine / UK / Denmark / Qatar 2015, 29 min, cinescope, color, Arabic with English subtitles


Credits

Directors: Larissa Sansour & Søren Lind
Writer: Søren Lind
Producer: Ali Roche, Spike Film and Video
Executive Producer: Film London
Director of Photography: Thomas Fryd
Production Designer: Simon Godfrey
Editors: Daniel Martinez, William Dybeck Sørensen
Visual Effects: Supervisor Henrik Bach Christensen
Post Producer: William Dybeck Sørensen
Costume Designer: Line Frank
Composer: Aida Nadeem
Supervising Sound Editor: Tom Sedgwick
Cast: Resistance Leader Pooneh Hajimohammadi
Girl 1: Anna Aldridge
Girl 2: Leyla Ertosun
Voice actors: Resistance Leader (voice) Larissa Sansour
Psychiatrist: (voice) Carol Sansour

Larissa Sansour - In the Future They Ate From the Finest Porcelain
In the Future They Ate From the Finest Porcelain resides in the cross-section between sci-fi, archaeology and politics. Combining live motion and CGI, the film explores the role of myth for history, fact and national identity.A narrative resistance group makes underground deposits of elaborate porcelain – suggested to belong to an entirely fictional civilization. Their aim is to influence history and support future claims to their vanishing lands.Palestine / UK / Denmark / Qatar 2015, 29 min, cinescope, color, Arabic with English subtitles

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