COURAGE

Підключення Колекцій

Алла Горська народилася у 1929 році в м. Ялта (Крим) в сім’ї комуністичних високопосадовців. Її батько – радянський режисер, що згодом переїхав до Ленінграда, де вона з матір’ю пережили блокаду 1941-1943 років. Згодом сім’я переїхала до Києва, щоб частково уникнути тиску з боку радянської влади на батька. У 1946 р. Горська вступила до художньої школи, стала членом комсомолу, а пізніше закінчила Київський художній інститут. Її роботи були представлені на багатьох всесоюзних виставках.

Будучи членом «червоної буржуазії», Горська вдало вийшла заміж, мала квартиру в центрі Києва та вивчала образотворче мистецтво. Як і багато інших з її покоління, скориставшись хрущовською «відлигою», вона експериментувала з культурно-літературними формами, що витіснились соціалістичним реалізмом. Горська була засновницею Київського клубу творчої молоді (1959-1964), і, хоча була вихована в російськомовній родині, почала вивчати українську мову та зображала народні мотиви у своїх роботах. Вона також була залучена до дій щодо виявлення злочинів сталінського періоду.

У 1962-1963 роках, спільно з Лесем Танюком та Василем Симоненком, вони встановили непомічені загальні місця поховання жертв НКВД, які були вбиті у 1930-х роках біля села Биківня. Був написаний меморандум, що інформував Київську міську раду про цю «знахідку». Невдовзі після цього Симоненко був жорстоко побитий. Внаслідок пошкодження хворої нирки він за короткий час помер.

Горська почала інтенсивніше і частіше входити у конфлікт з владою, що відображалося в її численних роботах. У 1964 році вона разом з Опанасом Заливахою, Галиною Севрук, Галиною Зубченко та Людмилою Семикіною створила вітраж у Київському державному університеті, де зобразила сердитого Тараса Шевченка, який тримає скривджену жінку – символ України – який згодом був знищений як ідеологічно шкідливий. Горська писала листи на підтримку заарештованих колег, яким інкримінували «антирадянську агітацію та пропаганду». У 1968 році вона була у списку серед 139 підписантів листа, скерованого до Леоніда Брежнєва, Олексія Косигіна та Миколи Подгорного, у якому містився заклик-прохання зупинити практики, які порушували «радянську законність». Крім цього, Горська відмовилася давати покази на декількох судових процесах над своїми колегами, посилаючись на протизаконність провадження. За короткий час з’явилися чутки про те, що в Україні діє терористична бандерівська організація, пов’язана з ЦРУ, а Горську назвали провідним членом цієї незаконної організації.

2 грудня 1970 року Горську знайшли мертвою в селі Васильків, на її голові виднівся слід від удару тупим предметом. Напередодні, вранці 28 листопада, вона відвідала свого свекра Івана Зарецького з метою позичити у нього стару швейну машину. Наступного дня він був знайдений обезголовленим, на залізничних коліях біля Фастова, 35 кілометрів від власного дому. Після короткого розслідування Київська прокуратура встановила, що Зарецький убив Горську, а опісля з відчаю вчинив самогубство. Однодумці Алли вбачали у цьому слід КДБ, адже спецоргани спершу намагалися залякати Горську, а коли це не спрацювало, жорстоко її вбили.

Born Karl- Heinz Tanzyna, he was adopted by the Jena family Hahnemann shortly after his birth. He never met his biological mother. From 1965 to 1970 he studied architecture in Weimar and began using the name Gino. Having finished his studies, he began working for Hermann Henselmann, one of the best-known GDR architects.

While still working as an architect he received an offer to work as a model. Soon he quit his office job and became one of the few state-approved menswear models in the GDR. He also worked as a costume- and stage designer in theatres in Berlin, Brandenburg and Mecklenburg-Western Pomerania. He was the last stage designer at the Palast der Republik in Berlin.

He was open concerning his belonging to the LGBT communities, wrote poetry and prose and is considered to be one of the first GDR writers who openly dealt with homosexuality in his works. He saw himself as part of the artistic “Underground”. In the 80s his poetry and prose appeared in underground magazines like „Schaden“, “Entwerter/Oder”, “U.S.W.”, der „Ariadnefabrik“ and many more.

During the same time he experimented with and sought to test the boundaries of Super-8 filming. He filmed his own scripts as an independent director. According to the historian Claus Löser, without Hahnemann’s contributions, the independent film scene in the GDR would have developed much differently. As film-maker, he was also part of the “Underground” and showed his own, independent view of the GDR-reality with his movies.

He showed his work at single- and group exhibitions organized multimedia performances and readings. He published self-made artist’s books, developed set scenery and remained a writer and cultural figure even after the fall of the wall. In 1993 he initiated as an author, programme director and presenter the yearly “Bildsalon” at the Literaturforum im Brecht-House Berlin. He translated works by the American poet John Eppstein into German, took part in exhibitions like "BERLIN-MOSKAU 1950-2000” and also contributed works to the “3. Biennale for contemporary art” 2004 in Berlin.

He received a number of scholarships: from the Berlin Senate, Academy Castle Solitude Stuttgart and the Villa Massimo in Rome, as well as the Alfred-Döblin-scholarship of the Berlin Academy of Arts.

Gino Hahnemann died on April 17th 2006.

Poet, performer, visual artist. Born in Budapest as Tibor Frankl, in an intellectual family. "I have documents about it. I can prove it with these, if required. However it is possible that these documents are goldbricks." - disseminated suspicion concerning his origin in his autobiography written in 1974. His poems regularly appeared already in the journal of the high school, than he started his upper level studies at the English department of ELTE in 1965. A year later, at the age of 19 he was accused with "continually comitted agitation" as the secondary defendant in the trial of the so called "downtown gang" (fabricated by the police) and sentenced to one and half years in jail. After his release he could not continue his university studies, so he took a job as a purchasing agent of a wood- and paper-industrial cooperative.

Some of his poems and essays appeared in periodicals and anthologies (1968, 1974, 1976). In this period he started to publish under the name Tibor Hajas (his collected writings released in 2005 contains 460 pages without bibliography). Paralel to this he turned to visual arts, created conceptual works (Prosthesises, 1974-76; Analysisdetonation 1-5, 1976; Tattooed slide, 1976), photo-actions (This wall does not exist, 1974; Letter to my friend to Paris, 1975; Living comics, 1975). Participated in the Chapel Studio exhibitions in Balatonboglár, the exhibiton "Exposure" in the Lajos Hatvany Museum thematizing the use of photograps in visual arts. Regularly exhibited also in the Club of Young Artists, where he was awarded in 1975 and 1976.

From the middle of the seventies he held theoretical lectures (sometimes combined with actons) on film, photography and visual arts. His collaboration with János Vető from 1974 resulted in significant body art actions, photoperformances (Flesh painting I-IV, 1978; Surface torture I-III, 1978; Image whipping I-III, 1978-79; Make up sketches, 1979), experimental film (Self-fashion show, 1976), and videos (The guest, 1977; Jewels of the night, 1978). "Beside the total activity called 'art' I am mainly interested in cigars" - phrased his orientation in his autobiography dated 1976.

From 1978 he produced high-impact performances. He is called the begetter and the most significant practicioner of the genre in Hungary. His demand toward totality menifested best in his performanes, where he often played with hazard and pain ("he shocked on visceral level, creating stress in order to let the viewer feel adrenalin in hir throat" - as a critic worded it). The performances executed with the help of assistants were carefully designed in every detail. He often operated in full darkness, with flashing magnesium to let the viewer record the moment in his memory. "I have written and published poems, and forgot them; I participated in local and international exhibitions, and forgot them; I held lectures actions and performances, and forgot them with a few exceptions" - reflected on his activities in his autobiography dated 1979.

"The freedom and complexity of raising a problem, which was the privilege of art until now, has to step into our fate: feudalism is over, art is not a sattelite and not an outspoken jester, but an undomestificably specific mode of human cognition bearing a vote in every brain, which is unseparable from the reasoned definition of freedom, the »free deployment of all human capabilities« - as he phrased in an essay on art published only twenty-five years after his death. He died in a car accident in 1980, at the age of 34. Following his death several memorial and retrospective exhibitions of his oeuvre were organized (King Stephan Museum, Székesfehérvár, 1987; Ernst Museum, Budapest, 1997; Ludwig Museum Budapest 2005). His photo tableaus were featured at the core exhibition of the 57th Venice Biennial (Viva Arte Viva, 2017).

Hungarian Széchenyi Prize-winning folk musician, teacher. Halmos supported the collections of folk music from the beginning. He is one of the founding members of Sebő Band; he was also a member of the band Kalamajka from 1990. 
He was born in Szombathely on 4 June 1946. His father, Béla Halmos, was an architect; his mother was Rozália Szabó M. He learned music with his four sisters, and he studied classical music. He married Katalin Gyenes in 1969. 

Halmos spent his childhood in Gyula, and it was also in Gyula that he began to study classical music. He graduated from the Faculty of Architecture at the Technical University of Budapest in 1970 as a design architect. Between 1970 and 1972 and 1979–82, he worked at the City Planning and Design Institute [Városépítési Tudományos és Tervező Intézet] as an architect. In 1969 he appeared in the “Röpülj, páva!” [Fly peacock] with Ferenc Sebő. They sang folk songs with guitar accompaniment. Halmos also competed as an individual and won.

He and Ferenc Sebő founded the Sebő-Halmos Duo and, in 1974, the Sebő Band. Thankfully, the best ethnomusicologists (Lajos Vargyas, György Martin, Zoltán Kallós, László Vikár, and Bálint Sárosi) knew about the folk music. Halmos traveled to Transylvania to listen to traditional folk music, and he tried to learn it too. He traveled to Szék (Sic, Romania) and saw the traditional dance house which became the model of the Hungarian dance houses. In 1972, he and his friends organized the first private dance house in Budapest where young people could learn folk dances and folk songs. Halmos became the main character of the dance house movement.

In 1975, he began to publish on Transylvanian folk music, and he started to work at the Hungarian Academy of Sciences and the Institute for Musicology. Halmos collected folk music and folk songs from Ádám István. Halmos established the Folk Dance House Archive in 1999. The Hungarian Heritage House got the Archive in 2001. His bequest is also available at the Hungarian Heritage House as the part of Lajtha László Folklore Documentation Library and Archive.

Halmos got many prizes, and he was the main character among the organizers of dance houses from the 1970s.