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

NEW: Favorites curated by blinkvideo users

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

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

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

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

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

Igor Simić - WELTSCHMERZ 
at Galerie Beckers, Frankfurt

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

Fuzzy dark spot
Video art from Hamburg

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

REFRACTED REALITIES at VIDEONALE.17

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

Featured videos

Annegret Soltau
Schwanger-Sein I, 1977/78

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

Tobias Yves Zintel
Breed and Educate, 2018

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

Lene Markusen
Grad, 2004

Dieter Kiessling
60 Minutes 360 Degrees GK 2010, 2010

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

Clemens von Wedemeyer
Silberhöhe, 2003

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

Janet Biggs
Fade to White, 2010

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

Rebecca Ann Tess
The Tallest, 2014

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

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

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

Critics’ Pick: Vienna by Nicole Büsing + Heiko Klaas

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

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

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

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

Johan Grimonprez

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

Christoph Faulhaber: Revolution & Architecture

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

Stiftung imai – inter media art institute

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

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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

Adnan Softic

Works


Galleries

for further information contact blinkvideo
Germany

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




Biography

Born 1975 inSarajevo, Bosnien und Herzegowina
Lives in Hamburg

Education

2007 Postgraduate studies at the Hochschule für bildende Künste in Hamburg
2004 Diploma at the Hochschule für bildende Künste in Hamburg
1998 Philosophie and Politologie at the Humboldt Universität zu Berlin
1995 Preparatory course at the university of Hamburg, Volkswirtschafstlehre
1992 Fachgymnasium for Chemistry in Sarajevo, Fachabitur

Exhibitions, screenings (selection)

2014
Schauspielhaus Hamburg
Galerie Matthais Güntner, Hamburg
Holger Pries Galerie, Hamburg
El Kino, Golem, Hamburg

2013
Pulse, Miami
La Prefécture, Marseille
Marstall, Ahrensburg
Schloss Kalsdorf/Ilz bei Graz
Friese, Hamburg
Galerie 59 Rivoli, Paris

2012
Perla Moda. Zürich
(e)merge art fair, Washington, DC
Galerie Genscher, Hamburg
„Culture Unplugged“, Maharashtra, India

2011
Media City Festival, Windsor, Ontario
Filmclub, Riga
Moviemento, Linz
Kulturhuset, Stockholm
Goethe-Institut, Stockholm
Kinemathek, Karlsruhe
Kulturzentrum Wassermühle, Trittau
Filmpalette, Köln
Werksattkino München
creACTive, Skopje
Kampnagel, Hamburg

2010
KW Institute for Contemporary Art, Berlin
International Short Film Festival Oberhausen
3sat
Kinemathek, Tel Aviv
International Short Film Festival Hamburg
CinéMayence, Institut Français, Mainz
Sarajevo Film Festival
Festcurtasbh, Belo Horizonte

2009
KunstFilmBienalle, Köln
Hedah Centre of Contemporary Art, Maastricht
Kunsthalle Exnergasse, Wien
Kunsthaus, Hamburg

2007
Paul Klee Zentrum, Bern, Schweiz
Sies + Höke Galerie, Düsseldorf
Hebbel Theater, Berlin
Kampnagel, Hamburg
Kunsthaus, Hamburg

2006
K3 Galerie, Zürich
Filmski Front, Novi Sad

2005
Museum of Modern Art, La Tertulia
Museo De Arte Moderno, Quito
Kunstverein, Braunschweig
National Theater Sarajevo

2004
Kunstmuseum, Luzern
FAMU, Prag
Hebbel Theater, Berlin

2003
Premiers Plans Festival, Angers
Festival of East European Cinema, Cottbus!
Festival of alternative theater, Leipzig
Forum Freies Theater, Düsseldorf
Stubnitz, Hamburg
Kampnagel, Hamburg

2002
International Short Film Festival Oberhausen
Münchner Filmwochen
Golden Pudel Club, Hamburg
Westwerk, Hamburg
Schauspielhaus, Frankfurt
Volksbühne, Berlin

Projects (selection)

2014
„New Hamburg” – Curator and author of an urban project
„Hofkinder” – Spielfilm, ca. 70 Min. (in Vorbereitung)
2013„Wie Schnee von gestern“ – Film, 10 Min.
„On Site” – Fotografie
2011
„Schnee von gestern“ – Installation
„Alles wegen Gesundheit“ - Lecture Performance
2009
„Ground Control“ – Film, Video, 13 Min.
“Palestine will be Free!” – Videoinstallation
2007
“Unding, zeige dich! 1 + 2” – Audio- & Videoinstallation
“Repräsentation” – Audio / Video Perfomance
„Luk - Onion - Zwiebel” – Film, Super 16 mm / Video, 60 Min.
2005
„Retour au desert“ (Rückkehr in die Wüste) von B.M. Koltés – Video in Theater
2004
“Turbo(v)folk” – Installation mit Stef Heidhues, Christof Rothmeyer und Malte Urbschat
2002
“Nema problema / Es gibt kein Problem” – Film, 16 mm, Video, 18 Min.
2001-2007
“Autoput” – Performance
1999
“Festes Gewebe oder der Körper ist mein Tempel” – Film, Super 8 mm, 6 Min.
“So und so” – Videofilm, 10 Min.
1998-2000
Musik für Theater:
“Leidenschaften und Ungeziefer” – Ulrich Bräker / Barbara Weber
“Der grüne Kakadu” – Arthur Schnitzler / Angela Richter
“Endspiel” – Samual Beckett / Branko Šimić
“Blut am Hals der Katze” – Rainer Werner Fassbinder / Anina La Roche
1995-2008
“LOMA” – Musik

Awards and scholarships (selection)

2014-2015 Quartierskünstler, Hamburg Veddel
2013 Neue Kunst in Hamburg, Reisestipendium nach Skopje, Sarajevo, Athen
2012 Stipendium der Arbeitsgemeinschaft Zürcher Bildhauer, Zürich
2010-2011 Jahresstipendium in der Wassermühle in Trittau - Kulturstiftung Stormarn
2008-2009 Hamburger Arbeitsstipendium für Bildende Kunst
2007 Forschungsstipendium & Residenz in der Sommerakademie Paul Klee Zentrum, Bern
2006-2008 Stipendium zur Förderung des künstlerischen Nachwuchses
2005 Dietze Preis für das beste Diplom
2004 DAAD Diplompreis
2003-2004 Leistungsstipendium

Publikationen

2014 „Eine bessere Geschichte“ (AT) - Buch (in Vorbereitung)
2013 „On Site” - Katalog, Textem Verlag
2011 „Posttraumatische Unterhaltung / Posttraumatic Entertainment“ – Katalog. Revolver Verlag
2009 „Lettre de Sarajevo“ – Trafic Nr. 72, Zeitschrift für Filmtheorie, Paris
2008 „Subtitles“ – Katalog

Adnan Softic
Born 1975 inSarajevo, Bosnien und Herzegowina Lives in Hamburg Education 2007 Postgraduate studies at the Hochschule für bildende Künste in Hamburg 2004 Diploma at the Hochschule für bildende Künste in Hamburg 1998 Philosophie and Politologie at the Humboldt Universität zu Berlin 1995 Preparatory course at the university of Hamburg, Volkswirtschafstlehre 1992 Fachgymnasium for Chemistry in Sarajevo, Fachabitur Exhibitions, screenings (selection) 2014 Schauspielhaus Hamburg Galerie Matthais Güntner, Hamburg Holger Pries Galerie, Hamburg El Kino, Golem, Hamburg 2013 Pulse, Miami La Prefécture, Marseille Marstall, Ahrensburg Schloss Kalsdorf/Ilz bei Graz Friese, Hamburg Galerie 59 Rivoli, Paris 2012 Perla Moda. Zürich (e)merge art fair, Washington, DC Galerie Genscher, Hamburg „Culture Unplugged“, Maharashtra, India 2011 Media City Festival, Windsor, Ontario Filmclub, Riga Moviemento, Linz Kulturhuset, Stockholm Goethe-Institut, Stockholm Kinemathek, Karlsruhe Kulturzentrum Wassermühle, Trittau Filmpalette, Köln Werksattkino München creACTive, Skopje Kampnagel, Hamburg 2010 KW Institute for Contemporary Art, Berlin International Short Film Festival Oberhausen 3sat Kinemathek, Tel Aviv International Short Film Festival Hamburg CinéMayence, Institut Français, Mainz Sarajevo Film Festival Festcurtasbh, Belo Horizonte 2009 KunstFilmBienalle, Köln Hedah Centre of Contemporary Art, Maastricht Kunsthalle Exnergasse, Wien Kunsthaus, Hamburg 2007 Paul Klee Zentrum, Bern, Schweiz Sies + Höke Galerie, Düsseldorf Hebbel Theater, Berlin Kampnagel, Hamburg Kunsthaus, Hamburg 2006 K3 Galerie, Zürich Filmski Front, Novi Sad 2005 Museum of Modern Art, La Tertulia Museo De Arte Moderno, Quito Kunstverein, Braunschweig National Theater Sarajevo 2004 Kunstmuseum, Luzern FAMU, Prag Hebbel Theater, Berlin 2003 Premiers Plans Festival, Angers Festival of East European Cinema, Cottbus! Festival of alternative theater, Leipzig Forum Freies Theater, Düsseldorf Stubnitz, Hamburg Kampnagel, Hamburg 2002 International Short Film Festival Oberhausen Münchner Filmwochen Golden Pudel Club, Hamburg Westwerk, Hamburg Schauspielhaus, Frankfurt Volksbühne, Berlin Projects (selection) 2014 „New Hamburg” – Curator and author of an urban project „Hofkinder” – Spielfilm, ca. 70 Min. (in Vorbereitung) 2013„Wie Schnee von gestern“ – Film, 10 Min. „On Site” – Fotografie 2011 „Schnee von gestern“ – Installation „Alles wegen Gesundheit“ - Lecture Performance 2009 „Ground Control“ – Film, Video, 13 Min. “Palestine will be Free!” – Videoinstallation 2007 “Unding, zeige dich! 1 + 2” – Audio- & Videoinstallation “Repräsentation” – Audio / Video Perfomance „Luk - Onion - Zwiebel” – Film, Super 16 mm / Video, 60 Min. 2005 „Retour au desert“ (Rückkehr in die Wüste) von B.M. Koltés – Video in Theater 2004 “Turbo(v)folk” – Installation mit Stef Heidhues, Christof Rothmeyer und Malte Urbschat 2002 “Nema problema / Es gibt kein Problem” – Film, 16 mm, Video, 18 Min. 2001-2007 “Autoput” – Performance 1999 “Festes Gewebe oder der Körper ist mein Tempel” – Film, Super 8 mm, 6 Min. “So und so” – Videofilm, 10 Min. 1998-2000 Musik für Theater: “Leidenschaften und Ungeziefer” – Ulrich Bräker / Barbara Weber “Der grüne Kakadu” – Arthur Schnitzler / Angela Richter “Endspiel” – Samual Beckett / Branko Šimić “Blut am Hals der Katze” – Rainer Werner Fassbinder / Anina La Roche 1995-2008 “LOMA” – Musik Awards and scholarships (selection) 2014-2015 Quartierskünstler, Hamburg Veddel 2013 Neue Kunst in Hamburg, Reisestipendium nach Skopje, Sarajevo, Athen 2012 Stipendium der Arbeitsgemeinschaft Zürcher Bildhauer, Zürich 2010-2011 Jahresstipendium in der Wassermühle in Trittau - Kulturstiftung Stormarn 2008-2009 Hamburger Arbeitsstipendium für Bildende Kunst 2007 Forschungsstipendium & Residenz in der Sommerakademie Paul Klee Zentrum, Bern 2006-2008 Stipendium zur Förderung des künstlerischen Nachwuchses 2005 Dietze Preis für das beste Diplom 2004 DAAD Diplompreis 2003-2004 Leistungsstipendium Publikationen 2014 „Eine bessere Geschichte“ (AT) - Buch (in Vorbereitung) 2013 „On Site” - Katalog, Textem Verlag 2011 „Posttraumatische Unterhaltung / Posttraumatic Entertainment“ – Katalog. Revolver Verlag 2009 „Lettre de Sarajevo“ – Trafic Nr. 72, Zeitschrift für Filmtheorie, Paris 2008 „Subtitles“ – Katalog

Adnan Softic
Nema Problema

Artist Adnan Softic
Year 2002
Duration 18:18 min
Edition 0
Technical info Film 16mm
Contact

About the video

The day the film maker was stung by a sea urchin.

A sting that lingers.
On Adnan Softić´s Nema Problema

The film title is like Kafka’s short story “My Neighbour” and the exclamation “I don’t complain, I don’t complain”. The film too deals with everyday occurrences, everyday life and the rift that runs through it. The protagonist’s parents are preparing a meal. It is summer. The scene is punctuated by television news broadcasts. Farewells and reception camps. Prior to that roaming through the city, a form of roaming about which Deleuze says in his philosophy of the cinema that the “balade“ is an indication for contemporary film. Sentences recollected by the narrator, or are they associations? In any case that which one sees bears a certain ambiguous relation. One hears: “This way is only a notion”. Another ambivalent aspect is the parents, who are presented in a documentary style yet are allowed to recite at intervals. For example at the beginning of the film. Then the sting of the sea urchin, which changes everyday life and sets the whole thing in motion. Yet this is no “unheard of incident” conveyed by the short novels, it is anti-novella. And he who sets out on the journey (back home?) does not reveal himself to us on a psychological level, does not disclose his mental state. Unless one perceives him in relation to the camera’s view. This, obsessed with detail, effusive (the overview, the fractal perspective, the framed perspective) does not provide any further information, it is an expression of a disassociation, a dissolution. However without pathos (without suffering?) and there is no longer any sign of something cathartic. A sting that lingers. A sea urchin.
We do not complain. Really. Not.
Gerd Roscher


Credits

Camera: Tilman Przyrembbel
Assistent: Peter Steckroth
Sound:  Daniel Matzke
Set Design: Samira Softić
Music: Ratko Danilović & dado
Edit: Adnan Softić
Cast: Sulejman, Esma & Adnan Softić, Sead Pandur
Screenplay: Adnan Softić & Daniel Matzke
Director: Adnan Softić
© kinolom - Adnan Softić

Adnan Softic - Nema Problema
The day the film maker was stung by a sea urchin. A sting that lingers. On Adnan Softić´s Nema Problema The film title is like Kafka’s short story “My Neighbour” and the exclamation “I don’t complain, I don’t complain”. The film too deals with everyday occurrences, everyday life and the rift that runs through it. The protagonist’s parents are preparing a meal. It is summer. The scene is punctuated by television news broadcasts. Farewells and reception camps. Prior to that roaming through the city, a form of roaming about which Deleuze says in his philosophy of the cinema that the “balade“ is an indication for contemporary film. Sentences recollected by the narrator, or are they associations? In any case that which one sees bears a certain ambiguous relation. One hears: “This way is only a notion”. Another ambivalent aspect is the parents, who are presented in a documentary style yet are allowed to recite at intervals. For example at the beginning of the film. Then the sting of the sea urchin, which changes everyday life and sets the whole thing in motion. Yet this is no “unheard of incident” conveyed by the short novels, it is anti-novella. And he who sets out on the journey (back home?) does not reveal himself to us on a psychological level, does not disclose his mental state. Unless one perceives him in relation to the camera’s view. This, obsessed with detail, effusive (the overview, the fractal perspective, the framed perspective) does not provide any further information, it is an expression of a disassociation, a dissolution. However without pathos (without suffering?) and there is no longer any sign of something cathartic. A sting that lingers. A sea urchin. We do not complain. Really. Not. Gerd Roscher

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