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

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.

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

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

Our Partners

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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
Tight tissue - or - The body is my temple

Artist Adnan Softic
Year 1999
Duration 5:41 min
Technical info Film Super 8
Contact

About the video

Four young men are exerting sports in completely destroyed areas of Sarajevo. From off-stage one hears a number of opinions about body aesthetics.

Nothing without disturbance

Four boys travel to Sarajevo. For Adnan and Jons a homecoming following years of devastation, of pain. Returning, back home. All of them want to make a film, record the big moment, play at being a director. They argue for all they are worth. Dispute as a starting point, as a form, as an approach. No taking it easy, no pity for one’s own fate. We owe it to the dead, to history, to the right one, our history.

The film shows none of this, or perhaps all of it: The consequences of the situation, the hopelessness. We run around, lose the overview, the orientation, devastate the devastated and rise up.

Our gaze is directed at the body in order to show what should not be shown: That which is present everywhere, that one cannot imagine not being there, the consequences of the war, the besiegement, the ruins of Sarajevo. Inside: Firm tissue or my body is my temple.

What a title, what grandeur…One must be daring, and the film dares to do very much.

It puts an end to the dispute, over, finished.
There is no more arguing, statements are made, as a voice-over. The text is pure assertion. It strings together fragments of thought above the body and its function of creating identity. Like a manifest, much too serious to be taken seriously.

The images on the other hand speak for themselves, they are absurd enough. Four boys who prepare themselves in the ruins of Sarajevo, do sport, hold their competitions. Their own Olympics, the oldest kind of spectacle: Olympics, competition, conflict, war. One can derive even more from it, the references are there, yet the film does not do this.

Nothing is projected outwards but instead it is crammed into the emptiness. No aesthetic of destruction, of emptiness, no putting something on show but an appropriation of destruction. Our own playground. We are cheerful and healthy, walk, run, start to throw things and get the machinery going. A paradise for city kids – without innocence.

Once again a reference to the big kids’ game? The joy of destruction?
Yes and no. One can interpret it like this however the film does not succumb to the seductive nature of the images but instead speaks against it with an image of the body. “Hands must be beautiful, teeth are important, collarbone and hip bone, sensual mouths, beautiful thighs, eyes and eyelashes, the man’s back is strong, broad, V-shaped…”. A categorical body image. Also a socialist, fascist exemplary image?

It is precisely here, at the seemingly weakest point, that the film shows its true strength. It is the performative act of reading that counteracts and at the same time compensates the image of the absolute, the unquestionable. As a result the film allows itself to say what it says and to show what it shows.

It is the author himself who while turning the pages as if searching for what he wants to say, at the same time questions the sincerity of his statement. More or less denies it. It is both magnificent and disturbing how he stumbles over his words, his voice remaining sober and dry, disregarding his own blunders, quite naturally, almost provocatively.

Yes to mistakes! Yes to blunders! Own up to them, recognize them and generate them. This approach breaks free of the inviolability of the manifest and brings it back down to the level of something sensitive, experienceable.

The layer of the image and the sound are superimposed upon one another and meet without touching. As a result, an intermediate space is created, a third reality that denies the viewer the possibility of an unambiguous interpretation.

The film ends like this: "… always the exterior and even worse, everything at first sight. It is so senseless, one only thinks about the body." How could such an assertion hold its ground if it were not the result of a form of denial that reveals its rather crude affirmative strength in precisely this disturbance, this punk attitude.
Luis Gal Iglesias


Credits

Idea, realisation: Adnan Softić
Contributors:  Frank Henne, Luis Gal, Adnan Softić, Jons Vukorep
© kinolom - Adnan Softić

Adnan Softic - Tight tissue - or - The body is my temple
Four young men are exerting sports in completely destroyed areas of Sarajevo. From off-stage one hears a number of opinions about body aesthetics. Nothing without disturbance Four boys travel to Sarajevo. For Adnan and Jons a homecoming following years of devastation, of pain. Returning, back home. All of them want to make a film, record the big moment, play at being a director. They argue for all they are worth. Dispute as a starting point, as a form, as an approach. No taking it easy, no pity for one’s own fate. We owe it to the dead, to history, to the right one, our history. The film shows none of this, or perhaps all of it: The consequences of the situation, the hopelessness. We run around, lose the overview, the orientation, devastate the devastated and rise up. Our gaze is directed at the body in order to show what should not be shown: That which is present everywhere, that one cannot imagine not being there, the consequences of the war, the besiegement, the ruins of Sarajevo. Inside: Firm tissue or my body is my temple. What a title, what grandeur…One must be daring, and the film dares to do very much. It puts an end to the dispute, over, finished. There is no more arguing, statements are made, as a voice-over. The text is pure assertion. It strings together fragments of thought above the body and its function of creating identity. Like a manifest, much too serious to be taken seriously. The images on the other hand speak for themselves, they are absurd enough. Four boys who prepare themselves in the ruins of Sarajevo, do sport, hold their competitions. Their own Olympics, the oldest kind of spectacle: Olympics, competition, conflict, war. One can derive even more from it, the references are there, yet the film does not do this. Nothing is projected outwards but instead it is crammed into the emptiness. No aesthetic of destruction, of emptiness, no putting something on show but an appropriation of destruction. Our own playground. We are cheerful and healthy, walk, run, start to throw things and get the machinery going. A paradise for city kids – without innocence. Once again a reference to the big kids’ game? The joy of destruction? Yes and no. One can interpret it like this however the film does not succumb to the seductive nature of the images but instead speaks against it with an image of the body. “Hands must be beautiful, teeth are important, collarbone and hip bone, sensual mouths, beautiful thighs, eyes and eyelashes, the man’s back is strong, broad, V-shaped…”. A categorical body image. Also a socialist, fascist exemplary image? It is precisely here, at the seemingly weakest point, that the film shows its true strength. It is the performative act of reading that counteracts and at the same time compensates the image of the absolute, the unquestionable. As a result the film allows itself to say what it says and to show what it shows. It is the author himself who while turning the pages as if searching for what he wants to say, at the same time questions the sincerity of his statement. More or less denies it. It is both magnificent and disturbing how he stumbles over his words, his voice remaining sober and dry, disregarding his own blunders, quite naturally, almost provocatively. Yes to mistakes! Yes to blunders! Own up to them, recognize them and generate them. This approach breaks free of the inviolability of the manifest and brings it back down to the level of something sensitive, experienceable. The layer of the image and the sound are superimposed upon one another and meet without touching. As a result, an intermediate space is created, a third reality that denies the viewer the possibility of an unambiguous interpretation. The film ends like this: … always the exterior and even worse, everything at first sight. It is so senseless, one only thinks about the body. How could such an assertion hold its ground if it were not the result of a form of denial that reveals its rather crude affirmative strength in precisely this disturbance, this punk attitude. Luis Gal Iglesias

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