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Polish photographer, reporter and author of conceptual art series. Visual chronicler of economic, cultural and everyday life in the Polish People’s Republic in the late 1950s and the 1960s. Photographer of artistic life of the avant-garde of the 1960s, a member of artistic milieu gathered around the Foksal Gallery.

He came from Polish nobility, a family once bearing a count’s title. He was a son of Jan Kossakowski, a pediatric surgeon and an amateur photographer.
During Second World War he joined the resistance.

He graduated from Faculty of Architecture of Warsaw University of Technology where he was offered to work as a teaching assistant. However, he chose to pursue the career of a photographer.
Since 1957 he had cooperated with socio-cultural, illustrated magazines, such as „Polska”, „Ty i Ja”, „Zwierciadło”, „Stolica”.
These titles were published officially and aimed at presenting a positive image of a socialist country. Yet, they provided the readers with news on the most interesting scientific and cultural phenomena of those times – including the ones barely tolerated by the authorities.

In 1966 Kossakowski starts to cooperate with the avant-garde Foksal Gallery, based in Warsaw and devoted to conceptual art and the art of ephemeral events.
He started to collaborate with artists like Tadeusz Kantor or Edward Krasiński – today regarded as some of the most important for this period.
He also photographed the events taking place in other avant-garde milieus of the 1960s Poland: Cricot 2 Theatre of Tadeusz Kantor, theatre of Jerzy Grotowski, Krzywe Koło Gallery o Krzysztofory Gallery.

Due to the disintegration of the Foksal group and the political atmosphere in Poland, in 1970 he decided to emigrate to France.

He worked i.a. in the Museum of Decorative Arts in Paris and the Pompidou Centre. He cooperated with French magazines and publishing houses. He also started to pursue conceptual photography. He gained recognition with his series 6 Metres Before Paris (6 metrów przed Paryżem, 1970-1971), presenting “Paris” road signs on the roads accessing the city, along with their suburban surroundings.
Other noteworthy series are the photographs of patches of light created by stained glass windows in the Chartres gothic cathedral – The Lights of Chartres (Światła Chartres, 1983-1990).

Sources:
Dobosz Andrzej, Eustachy Kossakowski (1925-2001), obituary, „Tygodnik Powszechny” 2001 no 49, p. 15.
Wierzbicka Anna, Eustachy Kossakowski. Fotograf, „Biuletyn Historii Sztuki” 2004, no 3/4, pp. 412-413.
Polit Paweł (ed.), Edward Krasiński. Elementarz ABC, Bunkier Sztuki, Kraków 2008.
Sienkiewicz Karol, Eustachy Kossakowski, profile on the portal Culture.pl 2009, http://culture.pl/pl/tworca/eustachy-kossakowski

Mykhailyna Kotsiubynska was born in Vinnytsia, Ukraine in 1931. She was the niece of Ukrainian writer Mykhailo Kotsiubynsky. Her father Khoma married Kateryna Bedryzova, a Crimean of Armenian descent, who was trained and educated classically in St. Petersburg. In 1929, Bedryzova was accused of Ukrainian nationalism and only her Armenian heritage kept her from being included in a criminal case against the members of an organization called the “Union for the Liberation of Ukraine.” That said, Bedryzova embraced the family’s efforts to preserve and protect Kotsiubynsky’s literary legacy. After the Nazi invasion of the Soviet Union in 1941, Kotsiubynska recalled how her parents struggled to save their family as well the Mykhailo Kotsiubynsky museum. Her father Khoma refused to evacuate the family until they were issued an entire train car to take with them the museum’s holdings from Chernihiv. Miraculously, their request was met in the final hour, but as they waited for their train car to be attached to trains heading into the Soviet interior, Nazi bombs began falling all around them. Mykhailyna recalled in her memoirs how in that moment her parents protected that which was most valuable to them. They placed Mykhailyna on top of the trunk holding Kotsiubynsky’s original manuscripts and used their bodies to shield both from the fallout.

Despite Kotsiubynska’s ties to Ukrainian literary royalty, she was unable to avoid the post-Khrushchev crackdown on the cultural intelligentsia entirely, although unlike some of her counterparts, she was not sentenced to hard labor and exiled. Kotsiubynska lost her job at the T.H. Shevchenko Institute of Literature in 1966, the same year she was asked to turn in her party card following her participation in a protest staged at a Kyiv screening of Sergei Paradhznov’s film “Shadow of Forgotten Ancestors.” This film was an internationally acclaimed adaptation of the eponymous novel written by her uncle Mykhailo, but became a lightening rod for political protest, after a wave of arrests of Soviet writers and artists indicated renewed ideological retrenchment. While working at the Institute of Literature, Kotsiubynska had befriended and became a mentor to a young Vasyl Stus and is responsible for making much of his oeuvre accessible posthumously to the broader public. Her insights into his creative process were invaluable, and after decades of silence Kotsiubynska also wrote prodigiously after independence, chronicling the struggle of this circle of Kyivan intellectual and writers in the face of an oppressive and unyielding Soviet system.

Petr Kotyk is a Czech literary historian and curator in the Literary Archives of the Museum of Czech Literature. Since 1990 he had been making video recordings depicting Czech poets and writers as part of the time-lapse project, “Authentic”. The project focused on public events (readings, discussions, literary conferences, etc.) as well as private (recording the memories of authors and contemporaries). Kotyk is responsible for many publications and exhibitions in related to contemporary Czech literature. In January 2017 he was awarded the Czech PEN Club Prize for his work and achievements.

Poet, philosopher, architect, urbanist. After graduating with a degree in architecture, he became a disciple of philosopher Béla Hamvas. A few years later, they participated in a series of conversations with Béla Tábor and Lajos Szabó, which made a strong impact on him, and he choose Szabó as his new master. He got a serious infection in 1948, and his arm was paralyzed.

Following the failed Hungarian revolution in 1956, he emigrated with his family (and also with Szabó and his wife) to Brussels, where he studied architecture and urbanism. According to his wife, he preferred conversations to letters, and more than once, triggered by a book, he would locate the author, travel to his home, and ring the bell. This seems to have been the case with Guy Debord in 1960.

Kotányi became involved with the Situationist International (SI) in 1960, the same year he became director of the Bureau of Unitary Urbanism in Brussels. He participated in the group’s conferences held in September 1960 in London, August 1961 in Göteborg, and November 1962 in Antwerp. He was appointed to the Central Council of the SI; he participated in the first four sessions held in November 1960 in Brussels, January 1961 in Paris, April 1961 in Munich, and February 1962 in Paris. Kotányi served as the main editor of issues 5, 6, and 8 of Internationale Situationniste, as well as the inaugural issue of Situationistik Revolution, published in October 1962.

He contributed a number of seminal essays to the journal, including Gangland and Philosophy, 1961, Basic Program of the Bureau of Unitary Urbanism, 1961, co-authored with Raoul Vaneigem, and Theses on the Commune, on which he collaborated in 1962 with Debord and Vangeiem. In the summer of 1963, he submitted a proposal (as a private letter) with the outline of a radical reorientation for the movement. The text and he himself were accused of mysticism by Debord, and as a consequence, he was expelled from the group.