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Helgi Hirv oli Eesti graafik ja raamatuillustraator. Õpinuid alustas Kõrgemas Kunstikoolis Pallas 1943. aastal, peale II maailmasõja lõppu ja Pallase likvideerimist nõukogude võimu poolt lõpetas kunstiõpinud 1951. aastal Tartu Riiklikus Kunstiinstituudis. Tema õpetajaks oli seal Pallases õppinud Ado Vabbe. Luuletaja Indrek Hirve ema ning kunstnik Louis Paveli elukaaslane.

Indrek Hirv on Eesti luuletaja. 1981. aastal lõpetas Eesti Riikliku Kunstiinstituudi keraamika erialal. Tegeles peamiselt portselanimaaliga. 1987. aastal avaldas esimese luulekogu. 1989-1991 töötas Hollandis Raadio Vaba Euroopas. Praegu tegutseb vabakutselise luuletajana.

Indrek Hirve vanemad olid kunstnikud Helgi Hirv ja Louis Pavel. Perekonna naabrid ja sõbrad oli samuti peamiselt kunstnikud. Peale vanemate surma päris Indrek Hirv nende maalikogu, aga ka raamatud. 1978. aastal töötas Tartu Ülikooli kunstikabineti juures laborandina, seal puudus kokku seltskonnaga, kes koostasid omakirjastusliku almanahhi „Salong”, Indrek Hirv kutsuti seda illustreerima. Peale aastast Tartus elamist Tallinnasse tagasi kolides hakkas ta elama kunstnik Valdur Ohakas, kes sarnaselt mitmete teiste kunstnikega tema vanemate sõpruskonnast oli viibinud vangilaagris. Kuigi Valdur Ohakas oli ka nõukogude ajal tunnustatud kunstnik, räägiti kodus ametlikult keelatud teemadel avalikult ja vabalt. Kuna Indrek kasvas üles õhkkonnas, mis oli äärimiselt kriitiline nõukogude režiimi suhtes, ei kuulunud ta kunagi ka pioneeriorganisatsiooni ega komsomoli. Ka keraamikat õppima läks ta põhjusel, et ei soovinud teha nõukogude kunsti. Keraamikaosakonnas sai tegeleda abstraktse kunstiga. Maalis oma taldrikud sageli sini-must-valgetena. Need olid Eesti Vabariigi lipuvärvid ning nende koos eksponeerimine oli nõukogude ajal keelatud. Hirve taldrikute peal neid ei keelatud. 1980ndatel töötas sageli Peterburis, kus puutus kokku ka põrandaaluste kunstnike seltskonnaga.

1984. aastal toimus intsident, kus Indrek Hirv koos mõne kaaslasega väljendas avalikku vastumeelsust ühe KGB informaatori vastu. Sellele järgnes ülekuulamine KGBs, tal ei olnud võimalik oma töid näitustele panna, tema luuletusi ei avaldatud ning tema nime ei tohtinud ajalehtedes mainida. Selline olukord kestis veidi enam kui aasta. Juba enne 1984. aastat suhtles ta ka Johnny B. Isotammega, kelle käest sai keelatud kirjandust, aga ka juhiseid, kuidas ülekuulamistel käituda.

1989. aastal pages Hollandisse ning asus seal Toomas Hendrik Ilvese kaasabil tööle raadios „Vaba Euroopa”. 1991. aastast elab ja töötab Tartus.

Indrek Hirve arvates tähendas kultuuriline vastupanu seda, et tuli vastu panna nendele reeglitele, mis Moskva peale surus. Kultuurilise vastupanu uurimine on oluline nii, nagu ajaloo uurimine üldiselt on oluline. See on ka oluline osa Eesti kultuurist ning selle tundmine aitab meil Eesti kultuuri mõista ja hoida.

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).