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Attila Kopacz is a Transylvanian Hungarian photographer, art collector, and book publisher. He was a friend of Imre Baász, the creator of the digital Baász-collection. Now, he is the leader of the Cultural Centre of Árkos, the director of the Cova Print Ltd. in Sepsiszentgyörgy, and the owner of the Tinta Publishing Company.

Neven Korda, the founder of the FV 112/15 Collection, was also the co-founder and leader of the FV 112/15 Group and FV Video. Between 1983 and 1989, he was a member of the band Borghesia, where he directed their performances and music videos and was responsible for the visualisation of their performances and concerts. Later, Neven studied sociology at the Faculty of Social Science in Ljubljana.

Today he is active in the field of performing arts and video ( art video, music video, documentary video, film). He is a director and video and multimedia artist with diverse artistic practices in the field of performance art and the art of projection. He has also written theatrical performances, films, documentaries, and video spots and he organises video workshops. His activities additionally cover the area of archiving and conservation of video recordings.

He has been occupied with questions of video as an artistic expression and as a medium. He started using video in the beginning of the 1980's when an accessible video equipment flooded the market. Between 1982 and 1988 he was a president of Music Section at ŠKD Forum and a leader of its clubs and concert programmes.

In the 1990's he worked as an editor, a postproduction leader and as a director for propaganda films, commercials and TV shows at numerous TV stations and video studios. In this era, he created short films, TV shows and documentaries in tandem with Zemira Alajbegović. At the turn of the century, he moved where he left off in the second half of the 1980's. He returned to his calling, author creation of theatre performances and audio-visual forms.

From the middle of the first decade of a new century, he broadened a field of his pure video with visualisations for club nights mainly concerts (VJ Barbato Kanak), with video objects, intermedia installations and performative lectures. He consistently uses his old video elements and his own art archive in new contexts to stress the meaning of memory and experiencing a video as a live event clash.

Source: DIVA digital video archive - e-arhiv.org, http://www.e-arhiv.org/diva/NevenKorda (accessed February 11, 2017).

Polish photographer, reporter and author of conceptual art series. Visual chronicler of economic, cultural and everyday life in the Polish People’s Republic in the late 1950s and the 1960s. Photographer of artistic life of the avant-garde of the 1960s, a member of artistic milieu gathered around the Foksal Gallery.

He came from Polish nobility, a family once bearing a count’s title. He was a son of Jan Kossakowski, a pediatric surgeon and an amateur photographer.
During Second World War he joined the resistance.

He graduated from Faculty of Architecture of Warsaw University of Technology where he was offered to work as a teaching assistant. However, he chose to pursue the career of a photographer.
Since 1957 he had cooperated with socio-cultural, illustrated magazines, such as „Polska”, „Ty i Ja”, „Zwierciadło”, „Stolica”.
These titles were published officially and aimed at presenting a positive image of a socialist country. Yet, they provided the readers with news on the most interesting scientific and cultural phenomena of those times – including the ones barely tolerated by the authorities.

In 1966 Kossakowski starts to cooperate with the avant-garde Foksal Gallery, based in Warsaw and devoted to conceptual art and the art of ephemeral events.
He started to collaborate with artists like Tadeusz Kantor or Edward Krasiński – today regarded as some of the most important for this period.
He also photographed the events taking place in other avant-garde milieus of the 1960s Poland: Cricot 2 Theatre of Tadeusz Kantor, theatre of Jerzy Grotowski, Krzywe Koło Gallery o Krzysztofory Gallery.

Due to the disintegration of the Foksal group and the political atmosphere in Poland, in 1970 he decided to emigrate to France.

He worked i.a. in the Museum of Decorative Arts in Paris and the Pompidou Centre. He cooperated with French magazines and publishing houses. He also started to pursue conceptual photography. He gained recognition with his series 6 Metres Before Paris (6 metrów przed Paryżem, 1970-1971), presenting “Paris” road signs on the roads accessing the city, along with their suburban surroundings.
Other noteworthy series are the photographs of patches of light created by stained glass windows in the Chartres gothic cathedral – The Lights of Chartres (Światła Chartres, 1983-1990).

Sources:
Dobosz Andrzej, Eustachy Kossakowski (1925-2001), obituary, „Tygodnik Powszechny” 2001 no 49, p. 15.
Wierzbicka Anna, Eustachy Kossakowski. Fotograf, „Biuletyn Historii Sztuki” 2004, no 3/4, pp. 412-413.
Polit Paweł (ed.), Edward Krasiński. Elementarz ABC, Bunkier Sztuki, Kraków 2008.
Sienkiewicz Karol, Eustachy Kossakowski, profile on the portal Culture.pl 2009, http://culture.pl/pl/tworca/eustachy-kossakowski

Attila Koszits (Pécs, 1948) is a journalist, radio editor, music and art specialist, and university educator. Originally, he obtained a degree in engineering. He later acquired qualifications in public education, psychology, human politics, and media. From 1989 to 2011, he worked for the Hungarian Radio in Pécs, Budapest, Vienna, Paris, and London.  He has been holding presentations on the history o rock music since the beginning of the 1980s, and he has been participating in underground / alternative art as a musician, event organizer, contributor, and DJ of punk and new wave music. In the late 1970s, he began publishing articles, studies, and reports in dailies, magazines, music papers, and critical periodicals. He is a regular participant in scientific conferences on underground and alternative cultural issues. Items and records from his private archive have been on display at several exhibitions.

Mykhailyna Kotsiubynska was born in Vinnytsia, Ukraine in 1931. She was the niece of Ukrainian writer Mykhailo Kotsiubynsky. Her father Khoma married Kateryna Bedryzova, a Crimean of Armenian descent, who was trained and educated classically in St. Petersburg. In 1929, Bedryzova was accused of Ukrainian nationalism and only her Armenian heritage kept her from being included in a criminal case against the members of an organization called the “Union for the Liberation of Ukraine.” That said, Bedryzova embraced the family’s efforts to preserve and protect Kotsiubynsky’s literary legacy. After the Nazi invasion of the Soviet Union in 1941, Kotsiubynska recalled how her parents struggled to save their family as well the Mykhailo Kotsiubynsky museum. Her father Khoma refused to evacuate the family until they were issued an entire train car to take with them the museum’s holdings from Chernihiv. Miraculously, their request was met in the final hour, but as they waited for their train car to be attached to trains heading into the Soviet interior, Nazi bombs began falling all around them. Mykhailyna recalled in her memoirs how in that moment her parents protected that which was most valuable to them. They placed Mykhailyna on top of the trunk holding Kotsiubynsky’s original manuscripts and used their bodies to shield both from the fallout.

Despite Kotsiubynska’s ties to Ukrainian literary royalty, she was unable to avoid the post-Khrushchev crackdown on the cultural intelligentsia entirely, although unlike some of her counterparts, she was not sentenced to hard labor and exiled. Kotsiubynska lost her job at the T.H. Shevchenko Institute of Literature in 1966, the same year she was asked to turn in her party card following her participation in a protest staged at a Kyiv screening of Sergei Paradhznov’s film “Shadow of Forgotten Ancestors.” This film was an internationally acclaimed adaptation of the eponymous novel written by her uncle Mykhailo, but became a lightening rod for political protest, after a wave of arrests of Soviet writers and artists indicated renewed ideological retrenchment. While working at the Institute of Literature, Kotsiubynska had befriended and became a mentor to a young Vasyl Stus and is responsible for making much of his oeuvre accessible posthumously to the broader public. Her insights into his creative process were invaluable, and after decades of silence Kotsiubynska also wrote prodigiously after independence, chronicling the struggle of this circle of Kyivan intellectual and writers in the face of an oppressive and unyielding Soviet system.