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Emil Hidoș, membru al grupului Organizația Tinerilor Liberi (OTL), este autorul publicației muzicale samizdat Wald old pop (sic!) și al mai multor scrisori pentru Radio Europa Liberă (REL). El s-a născut la 16 octombrie 1950 în Bistrița, județul Bistrița-Năsăud, și a lucrat ca și chelner la un restaurant local din orașul său natal. Hidoș a intrat în atenția poliției secrete românești din cauza scrisorilor pe care le-a scris (singur sau cu prietenul său apropiat, Carol Pall) și le-a trimis în octombrie 1969 lui Cornel Chiriac, producătorul emisiunii Metronom, unul dintre cele mai populare programe muzicale difuzate de REL. Abia în iunie 1970, Securitatea locală a reușit să-l identifice pe Hidoș ca Braim Iones, autorul scrisorilor cu conținut “dușmănos” trimise departamentului românesc al REL. În timp ce îndeplinea serviciul militar obligatoriu departe de casă, Securitatea a organizat o percheziție la domiciliul său și a confiscat alte scrisori adresate lui Cornel Chiriac și câteva copii ale publicației sale samizdat Wald old popp (sic!). Elementul comun al acestor scrieri, care constituie nucleul disidenței sale culturale, a fost revolta împotriva lipsei de libertate pentru tinerii care doreau să asculte muzică străină și își exprimau atașamentul față de subculturile muzicale occidentale. Emil Hidoș a protestat împotriva lipsei posibilităților de distracție și a încercărilor regimului de a controla timpul liber al tinerilor prin organizațiile sale de masă. El a denunțat, de asemenea, intervențiile brutale ale miliției comuniste împotriva tinerilor cu păr lung și care purtau haine de inspirație occidentală, și care au ajuns să personifice pentru regim “parazitismul social,” pe care Decretul 153/70 îl incrimina din punct de vedere legal (ACNSAS, P 14400 vol. 1-3). Securitatea a deschis o anchetă penală, în timpul căreia Emil Hidoș și prietenul său, Carol Pall, au fost bătuți până când au recunoscut vinovăția imaginară de “propagandă împotriva ordinii socialiste.”În septembrie 1970, cei doi inculpați au fost trimiși în judecată și judecați de Tribunalul Militar Cluj. Ca urmare, Emil Hidoș a primit cea mai grea pedeapsă de 6 ani cu închisoare. Cazul său a fost popularizat printr-un articol publicat de Scânteia tineretului, ziarul oficial al Uniunii Tineretului Comunist, organizația de tineret a partidului. De fapt, articolul era o critică aspră a acelor tineri, precum Emil Hidoș și prietenii săi, care și-au exprimat atașamentul față de mișcarea hippy și au preferat să rămână la marginea societății socialiste.După eliberarea sa mai devreme din închisoare în 1973, Hidoș a continuat să fie hărțuit de Securitate, care l-a împiedicat să trăiască o viață decentă. În 1987, cererea de viză a fost aprobată și i s-a permis să plece în Republica Federală Germania pentru a se alătura soției sale, care a refuzat să se întoarcă în România după o vizită la părinții ei. În 2007, Emil Hidoș s-a întors în România, iar în februarie 2018 a acceptat pentru prima dată să vorbească public despre experiența sa cu Securitatea comunistă (Șchiopu 2018).

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).