Pal Frenak V roku 1989 založil  tanečnú skupinu  s rovnomenným názvom  „Compagnie Pal Frenak“ . V roku 1990 sa vracia do Maďarska, aby vyučoval moderný tanec.  Tiež udržiava kontakt s Francúzskom kde   pracuje na vývoji pohybovej terapie pre telesne postihnutých a autistické  deti vo fakultnej nemocnici v  Amiens.

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MARTIN LUKAC

Born -1989  Studies:2009-  Faculty of fine arts  Technical University  Košice    doc.akad.mal.Adam Szentpétery    2013-  Academy of Arts Architecture and Design Prague-  MgA.Jiří Černický. MgA. Marek Meduna 

A boy  (how to draw cartoon comics strip) 2013 by Martin Lukac, pencil on paper (A4)

"untitled" (how to draw cartoon comics strip) 2013 by Martin Lukac, pencil on paper (A4)

"untitled" (how to draw cartoon comics strip) by Martin Lukac, pencil on paper (A4) 2013

Museum of Sex

Eva Herzigova by Jean Baptiste Mondino for Citizen K (Fall 2002)

Images via PendvNYC

EVA.

Joyce Polance. Prodigy, 2011.

Joyce Polance. Petition, 2009–2010.

KAMA: Sex and Design at the Triennale Design Museum

Rosemarie Trockel (Installation View), via Gladstone Gallery - See more at: http://artobserved.com/2013/12/new-york-rosemarie-trockel-at-gladstone-gallery-through-december-21st-2013/#sthash.Jg89o1T1.dpuf

Rosemarie Trockel, Copy Me (2013), via Gladstone Gallery - See more at: http://artobserved.com/2013/12/new-york-rosemarie-trockel-at-gladstone-gallery-through-december-21st-2013/#sthash.Jg89o1T1.dpuf

Ellsworth Kelly (born May 31, 1923) is an American painter, sculptor, and printmaker associated with hard-edge painting, Color Field painting and the minimalist school. His works demonstrate unassuming techniques emphasizing simplicity of form, similar to the work of John McLaughlin and Kenneth Noland. Kelly often employs bright colors. He lives and works in Spencertown, New York.

Höfer began taking color photographs of interiors of public buildings, such as offices, banks, and waiting rooms, in 1979 while studying in Düsseldorf.[ Her breakthrough to fame came with a series of photographs showing guest workers in Germany, after which she concentrated on the subjects "Interiors", "Rooms" and "Zoological Gardens". Höfer specialises in large-format photographs of empty interiors and social spaces that capture the "psychology of social architecture". Her photographs are taken from a classic straight-on frontal angle or seek a diagonal in the composition] She tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives, or opera houses devoid of all human presence. Höfer’s imagery has consistently focused on these depopulated interiors since the 1980s. Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle.

In her Zoologische Gärten series (1991), Höfer shifts her focus away from interiors to of zoos in Germany, Spain, England, France, and the Netherlands. Implementing her typically descriptive style, Höfer’s images again seek to deconstruct the role institutions play in defining the viewer’s gaze by documenting animals in their caged environments

In 2001, for Douze-Twelve, commissioned by the Musée des Beaux-Arts et de la Dentelle in Calais[ and later shown at Documenta 11, Höfer photographed all 12 casts of Auguste Rodin’s The Burghers of Calais in their installations in various museums and sculpture gardens. From 2004 to 2007, she traveled the world to photograph conceptual artist On Kawara's iconic Date Paintings in the homes of private collectors. In 2005, Höfer embarked upon a project at the Musée du Louvre, documenting its various galleries, examining not only the sacred art they exhibit but also their individual design, arches, tiles and embellishments, with spectators and tourists entirely absent.

Candida Höfer on June 29 2013

Peter Marino and Marc Jacobs at the Architecture Foundation’s John Edwards Lecture Series at Tate Modern

Rudolf Schwarzkogler (13 November 1940 in Vienna – 20 June 1969) was an Austrian performance artist closely associated with the Viennese Actionism group that included artists Günter Brus, Otto Mühl, and Hermann Nitsch.

He is best known today for photographs depicting his series of closely controlled "Aktionen" featuring such iconography as a dead fish, a dead chicken, bare light bulbs, colored liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler's works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Aktion (1965) in which a patient's head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.

maurizio cattelan 'untitled' (2009)

taxidermied horse, steel and felt-tip pen on wood, 55 x 201 x 189 cm

installation view photo: zeno zotti, courtesy maurizio cattelan's archive

Maurizio Cattelan (b. 1960) 

La Nona Ora (The Ninth Hour) 

wax, clothing, polyester resin with metallic powder, volcanic rock, carpet, glass

dimensions variable.

Cattelan started his career in Forlì (Italy) making wooden furniture in the 1980s where he came to know some designers like Ettore Sottsass.

He made a catalogue of his work which he sent to galleries. This promotion gave him an opening in design and contemporary art. He created a sculpture of an ostrich with its head buried in the ground, wore a costume of a figurine with a giant head of Picasso, and affixed a Milanese gallerist to a wall with tape. During this period, he also created the Oblomov Foundation.

Cattelan’s personal art practice has led to him gaining a reputation as an art scene’s joker.[1] In 1995 he began his line of taxidermied horses, donkeys, mice and dogs; in 1999 he started making life-size wax effigies of various people, including himself.[2] One of his best known sculptures, ‘La Nona Ora’ consists of an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor and is a good example of his typically humorous approach to work. Another of Cattelan’s quirks is his use of a ‘stand-in’ in media interviews equipped with a stock of evasive answers and non-sensical explanations.

Between 2005 and 2010 his work has largely centered on publishing and curating. Earlier projects in these fields have included the founding of “The Wrong Gallery”, a store window in New York City [1], in 2002 and its subsequent display within the collection of the Tate Modern from 2005 to 2007; collaborations on the publications Permanent Food, 1996–2007- with Dominique Gonzalez Foerster and Paola Manfrin- and the slightly satirical arts journal "Charley", 2002–present (the former an occasional journal comprising a pastiche of pages torn from other magazines, the latter a series on contemporary artists); and the curating of the Caribbean Biennial in 1999.[3] Along with long-term collaborators Ali Subotnick and Massimiliano Gioni, Cattelan also curated the 2006 Berlin Biennale. He frequently submitted articles to international publications such as Flash Art [2].