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Iván Szelényi (1938–) is a Hungarian sociologist. He graduated from the Karl Marx Economics University in 1960 and then worked at the Library of the Central Statistical Office. He worked at the Sociological Research Institute of the Academy from 1963. He received a Ford Scholarship and studied in Berkeley between 1964 and 1965. By the early 1970s, he also began a teaching carrier at the Economics University and the Political Academy of the Party. In 1974, a transcript which he wrote with György Konrád entitled Intellectuals on the Road to Class Power was published. This writing questioned the notion of the leading role of the working class under socialism, so Szelényi lost his jobs, and in May 1975, he left Hungary. He became a visiting research professor at the University of Kent. In 1976, he was invited to the Flinders University of South Australia, where he founded sociological education. In 1981, he joined the University of Wisconsin-Madison. From 1986, he was a teacher at the City University of New York. From 1988 to 1999, he worked as Professor of Sociology at the University of California in Los Angeles.

Zsuzsa Szenes graduated from the textile department of the Academy of Applied Arts in 1955. Initially, she worked in the Komplex Textile Studio, designing curtains and fabrics. From the beginning of her career, she drew a great deal. In the early 1960s, she made drawings using ironical, sprawling forms. Later, she implemented the linear, lace-work-like designs into textile.

Her first composition with wool-stitching (a technique developed by her, based on roving wool), entitled the Tree of life, was on display at the exhibition Textile Wall Picture in 1968. This was an occasion on which a group of artists intended to renew textile art, and members of the spatial textile movement exhibited together for the first time. Szenes became one of the leading figures of this movement.

Like her contemporaries (Gábor Attalai, Aranka Hübner, Gizella Solti, Margit Szilvitzky, and others), Szenes went far beyond the limits of the genre. She had a significant role in establishing the textile biennial in Szombathely and the textile workshop in Velem, but she also played a key role in establishing conceptual thinking in domestic textile art, which earlier had been somewhat conservative.

Using wool-stitching, a technique she herself developed, Szenes created object interpretations, and she also developed installations, environments, and actions. At the end of the 1970s, she participated in the transdisciplinary exhibitions (Textile After Textile, 1979; Textile Without Textile, 1979) with photo-works. In the middle of the 1980s, she began to deal exclusively with graphic arts, creating an unparalleled series of tiny images called “Iconostasis,” which were rich in emotional and imaginative charge.

In the domestic art scene, alongside her works (the wool stitchings, drawings, textile montages, paper collages), the house in which she lived also played an important role. The famous address 6/b Virágárok street became something of a mythical locale in the second half of 20^th-century Hungarian art, as Szenes, together with her husband, artist Miklós Erdély, was the creator and shaper of its open atmosphere.

András Szennay (1921–2012) was a Hungarian Benedictine monk and archimandrite of Pannonhalma. He born József Szennay. He joined the Benedictine Order in 1939 and was made a priest in 1944. After that, he became the pastor of Prince Lónyai. He got PhD in theology in 1946 and then became the secretary to the archimandrite of Pannonhalma. In 1947, he became a teacher of divinity at the Benedictine Gymnasium in Budapest. In 1950, he began teaching in the Veres Pálné Gymnasium, and between 1950 and 1965 he was a librarian at the Academy of Theology, where he became a teacher in 1965 and dean in 1975–1976. Around 1969, he became an agent of the state security forces, and thanks to this, he became the archimandrite of Pannonhalma, against the already elected Zénó Jáki. He wrote his reports under the codenames “Szemere” and “Szénási,” but he was one of a passive group of collaborators. In 1991, he resigned from his position.

Poet, visual artist, dispatcher, lecturer.
1963 – he begins writing tradition-oriented poetry; later on, as a member of the Dull Poets‘ Circle, participates in poetry competitions dealing subjects concerning current politics.
1966 – initiates (with Gábor Altorjay) Happening & Fluxus in Hungary.
1968 – under the cover name Parallel Course/ Training Track, he founds the International Parallel Union of Telecommunications (IPUT).
1974 – due to his participation in the Samizdat movement, he is arrested by the state defence bureau on charges of anti-capitalist pornographic agitation and conspiracy.
1975 – before his forced exile, he presents the purpose of the Union: Subsistence Level Standard Project 1984 W (Make a Chair! – Hommage à George Brecht – SLSP 1984 W).
1975 – opens the new IPUT headquarters, orientated North-East-South, in Geneva, CH.
1975-1979 – the preparation of the Five-Year Plan.
1977– establishes a subsidiary institution of IPUT, the Near-East-European Free University for the Jobless of Western Europe (departments: Ast.ronomy, Rock&Roll and St.Rike), where, due to the deliberate waste production of telescopes by the astronomy industry, he launches the St.Reik Macht Frei!-program at the St.rike Department, which is declared R’n’R by the Ast.ronomy Department, and this is how it eventually settles in the public opinion of the world.
1979-1984 – as a result of a heterarchical transcendence of the Evolutionist and Creationist Myth Circles, in order to catalyse the Free Will Vestige, The Mutant, The Mutant Class, and The 24th Canton are realised.
1989-1990 – as an honorary member of the International Flat Earth Society, he makes a journey around the Earth that lasts for exactly one year.
1991 – following the coup d’état of 1989 in Hungary, he resettles from the Fatherland to the Motherland, where, from the Near-East-European Homogeneous Office, he superintends the post-1984 phases of Myth Correction.
1996 – presents the Katabasis Soteriologike, an extension of the research of Anatomic Immortality in the Grotesque Centres: the peripheral Mucsarnok/Kunsthalle (Budapest) and at the central Musée Rath (Geneva).
2001 – opens the Neo Socialist.-Realist. IPUT Global Counter-Art-Hist.ory-Falsifiers‘ Front, and publishes the NETRAF Manifesto.
2003 – as a correction of art-history-falsification, establishes the Portable Intelligence Increase Museum, and organises the first grassroots, Direct Democratic referendum on the issue of joining the Neutral Weapon Free Near-East-European Fluxus Green Zone (NEWNEEFLUGREEZ).
1991 – 2012 lectures at the Intermedia Crèche of the Hungarian University of Fine Arts (Anatomic Immortality – or the difference between the Catholic M. Duchamp and the Protestant G. Brecht = St.Rike like Sabbath, and Wei Wu Wei, that is, Dormant Land).