Guest Student Programme

Painting Studio Practice

In this course, students gain insight into the local and international art scene. They familiarise themselves with the fundamental theoretical and practical problems, and produce works. During their studies, students develop a working relationship with their professor. In a series of consultations, the professors give individual assignments, which help students develop their own visual idiom. The professor who leads the class gives new assignments based on the individual student’s interests, performance and previous works.

Course requirements: Practical and theoretical elaboration of painting problems which arise during the work process, evaluation and further development of the resulting solutions. In addition to a general familiarity with art history and art theory, a thorough knowledge of artists whose works can be seen to parallel those of the student.  

Method of evaluation of course work: presentation of the works and evaluation of the answers provided for the questions posed during consultation.

Teaching methods: group work, individual correction, observation exercises with creative participation, individual exercise variations, group analysis of exercise solutions, theoretical-historical lectures.

Recommended study methods: active participation in group and individual consultations, immediate thinking over and use of new information. With the help of these, the formulation of a unique and personal painting idiom.

Type of assignments the student is required to complete through individual work:

Searching for subjects that suits individual interest and the tools that are useful in implementing them, recording the experiences that are gathered during the searching process,  producing individual painting work with the help of materials provided during consultations.

Traditional Painting Techniques

Chinese Class
Course description September 2015 – January 2016

1st-4th week
Silverpoint drawing, underdrawings. White under-painting.
Copying of a painting’s detail by Lorenzo Costa. "Self-portrait" in the same manner.
Thin oil painting, wet glazing technique.

5th-7th week
Painting on grey under-layer. Copying of a painting’s detail by Tiziano Veccellio
Wet and dry glazing.

8th-10th week
Grey under-layer, painting with under-painting using sketches by Frederico Barocci and Guercino.
Tracture paint, thick painting, not fully covering layers of paint, optical mixture.

11th-14th week
Creating own composition using the acquired methods.

Life Drawing

Currently, the subject of anatomy/spatial analysis is compulsory for all students at the university. Studies of the first year concentrate on the skeletal structure while the second year focuses on the related function of the muscular system. It is here that lessons in spatial analysis expose artists in training to the challenges presented by perspective, composition and posture. In addition, optional lessons are available for more intensive study and practice. Lessons generally begin with lectures on specialised subject matters as well as a broader examination of art history and cultural contexts, with an equal emphasis placed on slide and video presentations. Two separate classrooms are available for practice work, which usually takes place in 4-hour sessions. Each workshop is equipped with large wallboards for creating life size chalk drawings and settings include the use of live models as well as materials from our permanent collection.

The Life Drawing course is based on the European artistic tradition, where drawing is instructed according to the Barcsay approach. Students learn the skill of drawing a live model and spatial analysis, with emphasis on developing a designer approach. Students also participate in lectures and receive feedback on the work produced.

Sculpture Studio Practice

The sculpture course has two main goals.

On the first hand it focuses on basic techniques and materials of sculpture such as clay (terracotta) and plaster. The students will be given different tasks to study natural and artificial forms, they will have to enlarge or diminish them in clay according to principles like mass, proportion, structure, positive-negative forms etc. Later they will have to analyse the given and resulted forms through cutting them into pieces or simplifying them into planar structures etc. Another similar task is to create repeating patterns and structures from previously made simple forms. As they become familiar to basic techniques portrait making after model will be part of the course.

Our second goal is to give special exercises concerning the relation between sculpture and architecture. Contemporary architecture quite often look like enormous sculptures, just as there are contemporary sculptors whose sculptures resemble small buildings, thus there is a certain trespassing between the two fields. Lectures will focus on this topic in different periods of art history. They will have to select a place in Budapest and analyse its features. The students will have to make plans for public sculptures for these places, this way they will be able to see and understand the relation between the two fields. They will have to make drawings and models using cardboard, plaster or Styrofoam.

Visual Representation of Buildings in the Past and Present

In the introduction to his book entitled Visual Thinking, Rudolf Arnheim warned us about the dangers of overanalyzing art, saying that art – and even its critique – in our day can sometimes be precarious due to varied and widespread analyses of its meaning. In addition to what our senses tell us, understanding also requires comprehension and association, yet these skills are hardly a part of our visual culture anymore. Images that speak for themselves are convenient perceptions; their abstraction, meaning and description are not problematic for the observer. There are cases when it is necessary and worthwhile to create spectacular, self-explanatory graphics and drawings. The need to illustrate our past and our architectural heritage is prevalent throughout the world of film and educational television programs today, and scientific thinking, at least in theory, is beginning to express a similar demand. High-tech methods of recording data take hold of our visual perception, including virtual models of historical spaces and structures that can even be presented in a 3-dimensional format. A suggestive, life-like reconstruction can easily make us forget the original, the starting point, which we tend to bypass as we step further into virtual reality. In this sense, a reconstruction is manipulative rather than cognitive, the latter necessitating an interpretation based on scientific inquiry.
Perspective is actually a tool of illusion, one that strives to render spatiality and a sense of spatial depth. It is a method of depiction through which weshow images that we see and imagine, transforming them in a two-dimensional format.

Kőnig’s collection and his perspective drawings reveal the past and the present, connecting archaeology with architecture, ruins with reality, and science with artistic representation. He enters the given space, which is the fundamental law of architecture as a genre of spatial creation. It is the obvious relationship established between the spectacle and the observer that becomes the unique paraphrase which enables Kőnig to place his depictionof castle architecture within the context of today’s scientific-artistic disciplines.

Colour Interpretation

Does colour exist at all? Does it exist independently from us, humans, just like mass, volume, or weight, or the elements of the periodic table, or even Earth and the trees? Which words or terms could be used to describe or conceive this ethereal experience of perception? Is the phenomenon of colour an inherent feature of the world surrounding us, or is it us, humans, who assign this relative, hardly transmittable concept to visible things? To what extent does this experience remaininevitably subjective and to what extent can it be a socially consensual – and thus transmittable and shareable – (visual) experience?

We will play together. During the lectures we will embark on an exciting journey consisting of a series of experiments. We will allow ourselves to be astonished and enchanted by visual colour phenomena while also re-discovering and systematizing already existing knowledge in relation to physics, arts and architecture. Through engaging inthese playful, practical exercises, we will recognize and apply the experiences of additive and subtractive colour mixtures. One-fourth of the lectures will deal with physical, perceptionalandneurobiological references, while two-fourthsof the lectures willinvolve solving exercises related to these references.In the remaining sessions, we will evaluate the results of our “playing”. It is the aim of the course to provide students with experiences and knowledge that can later be used as source of inspiration andapplied in architectural work.

Graphic Design Studio Practice

Role of the course:

Professional training and basic training in drawing run parallel, and connect with relevant practical and theoretical topics: introduction to traditional printing techniques, graphic design, the history of advertisement, advertisement psychology. The use of painting tools and instruments, introduction of graphic techniques (line, colour, tone), rhythm exercises with lines and factures. Compositional studies (rest, movement, points of intersection, etc.), implementation of decorative compositional exercises, graphic articulation of colour and form, montage and collage techniques, material prints, colour theory and aesthetics.

Possible course components:

Introduction to graphic design, analysis-synthesis, naturalistic drawing (analysis = learning), studying and interpreting natural forms through drawing. Hyper-realistic delineation. Pictogram (simplification, characterisation, synthesis). Emblem. Change, analysis, elaboration with continuous consultation. Illustration. Poster with chosen motif. Ethics and aesthetics in content and form. Modelling graphic design problems. Self-characterisation with the unique tools of poster. Complete freedom in terms of form and method.

Introduction to the history of book printing. Introduction to the techniques, history, and integrated methods of relief printing, photogravure, planography, lithography and offset. The relationship between and potentials of graphic art techniques and graphic methods. Creating artwork with the acquired techniques.

Printmaking/Graphic Art Studio Practice

The course focuses on the theoretical foundations and practical application of autonomous, printmaking, and functional graphic genres. Teaching in drawing is combined with components introducing students to the basics of traditional printmaking techniques with intensive workshop assignments. Students, under the coordination of instructors, shape their graphic program at their own discretion to suit their personal needs.

Thanks to the ongoing development of departmental workshops, we have all the necessary apparatus in place for relief printing, intaglio printing, and planography. The screen printing shop employs the latest, environmentally friendly technologies. These facilities are complemented by a well-equipped photo lab and computer work stations. The Kondor Béla Gallery, operated by the Department, provides a home for monthly graphics exhibitions.

Course requirements: Identifying and solving specialist problems during studio work. In addition to a general knowledge about art history and art theory, through familiarity with the works of artists that can be seen to parallel the works of the student.

Teaching methods: Owing to the unique composition of graphics, our printmaking specialist training offers students an extensive range of studies in an attempt to give them a thorough and comprehensive understanding of the field.


In the framework of the Intermedia Program, art education and training is extended to artistic forms and techniques which first emerged in the visual arts of the 20th century (photo-kinetic and electronic arts, multimedia, installation, new techniques of communication, environment and action art).

Students learn to develop, in accordance with their own unique skills and abilities, an active and creative presence in the cultural spheres of information society. Students are trained to combine the various techniques, tools, methods and functions of artistic creativity and to apply in practice one or more traditional techniques of visual art. They are expected to understand and use technical media (photography, film, video, and computer) in an artistic context on both a user and a creative level. A firm grasp of the history of universal and Hungarian culture – and in particular, the essence and roots of issues arising from the changes in the arts and sciences during the last century – is a basic requirement.
The Intermedia Course consists of professional theory, practice and general theory, as well as specific updates of these areas.

Mapping the Local

(Image: Only Artist, 2006 by Little Warsaw)

The seminar presents an overview of the major phenomena, trends and issues of contemporary art based on various subjects in each semester; a special emphasis will be placed on the East European region, in the form of seminars, presentations held by invited lecturers, field trips to museums, institutions and artist studios. The course is primarily directed towards Erasmus students as well as local students of the Intermedia and Fine Art Theory and Curatorial Studies departments.
While offering an insight into the Hungarian contemporary art scene, one of the course's main intentions is to develop personal contacts and cultural interactions between local and foreign students fostering an emerging intercultural dialogue. It combines both theoretical and practical methods and is led by Zoltán Kékesi and Szabolcs KissPál, a scholar and an artist.

Mapping the Local
Interrupted Dialogue – Revisions, Contemporary Hungarian Art, Catalogue, C3, 1992.
After the Wall: Art and Culture in Post-Communist Europe, ed. by Bojana Pejic, David Elliott, Moderna Museet, 1999.
ARTmargins. Contemporary Central & East European Visual Culture (1999-)
Blut & Honig / Blood & Honey, Katalog / Catalogue, ed. by Harald Szeemann, Sammlung Essl, 2004.
Praesens. Central European Contemporary Art Review (2004-)
East Art Map. Contemporary Art and Eastern Europe, ed. By IRWIN, MIT, 2006.
What's Up? Contemporary Hungarian Art,ed. by Angel, Judit – Petrányi, Zsolt, Műcsarnok, 2008.
Párhuzamos Kronológiák / Parallel Chronologies,Tranzit (2009-),
We Are Not Ducks on a Pond But Ships at Sea. Independent Art Initiatives,Budapest, 1989-2009, ed. by Rita Kálmán, Katarina Šević, Impex, 2010.
Studio / Archive / Discourses, FKSE Studio of Young Hungarian Artists, Budapest, 2009.

Site specific interventions

Sites for the exhibition of art work have moved beyond the traditional places of the museum or gallery. In addition, exhibitions themselves have also evolved into spectacular events like the VeniceBiennale, the Muenster sculpture projectsor Documentain which art works are situated throughout the urban environment and within all the various realms of social activity.
The seminar is a survey of the evolution of the different art practices relating to site specific and other public art projects or interventions which take place outside of the traditional museum environment, including sculpture, installations, graffiti and performances specifically conceived of as forms of artistic discourse situated in public spaces and/or within the routines of everyday life.
The class includes a discussion of selected theoretical works relating to this art praxis as well as an analysis of specific projects and work that have significantly shaped the dimensions of this area of activity. Additionally, students will apply the ideas and issues contained in readings and discussions to situations and locations throughout the city.
The seminar led by: Allan Siegel

Readings to include selections from the following:

Albright, Deron.  “Tales of the city: applying Situationist social practice to the analysis of the urban drama” in the journal Criticism, Volume: 45. Issue: 1 (Detroit: Wayne State University Press, 2003)  Page  89+.
Crimp, Douglas.  “Redefining Site Specificity” in On the Museum in Ruins (Cambridge: MIT Press, 1993) pp. 150-186 ISBN-10: 0-262-53126-7
Deutsche, Rosalyn.  “Tilted Arc and the Uses of Democracy” in Evictions: Art and Spatial Politics (Cambridge: MIT Press, 1996) pp. 257-268 ISBN-10: 0-262-04158-8
Groys, Boris.  “Marx After Duchamp, or The Artist’s Two Bodies” in E-Flux Journal #19 (October 2010) pp. 1-7
Kluge, Alexander and Negt, Oskar.  “The Public Sphere of Monuments - the Public Sphere and Historical Consciousness” in The Public Sphere and Experience (currently out of print)
Ross, Kristen. “Henri Lefebvre on the Situationists: An Interview with Henri Lefebvre,” Interview conducted and translated 1983 by Kristen Rossin the journal October 79 (Cambridge: MIT Press, Winter 1997)
Marchart, Oliver.  “Some basic observations on the difficult relation of public art, urbanism and political theory” in stadtmotiv* 5 Essays on Architecture, City and the Public Sphere(s) Editors: Andreas Lechner & Petra Maierthe (Wien: selene, 1999) ISBN 3-85266-111-0
Mitchell, William J.T. “The definition of ‘post-modernism’"
Moholy-Nagy, László. “Space is a reality”
O’Doherty, Brian. “The Vernacular Glance” quoted by Anne Ring Petersen in Chapter 16: “Jenny Holzer and Barbara Kruger at Times Square” in “The urban lifeworld: formation, perception, representation”, Editors: Peter Madsen & Richard Plunz (London: Routledge, 2002) p. 369 ISBN 0-415-23403-4 (hbk)
O’Neill, Paul. “Three stages in the art of public participation: The relational, social and durational” in dérive 39 (2010) pp. 1-10
Sassen, Saskia.  “Making Public Interventions in Today’s Massive Cities” in Static. Issue 04– Unaccommodated (The London Consortium: November 2006) pp. 1-8
Tsui, Hilary. “Art interventions as alternative place−making; Urban cultural exchange between Vienna and Hong Kong,” in dérive 33 (2008) pp. 1-5
Phillips, Patricia. “Creating Democracy: A Dialogue with Krzysztof Wodiczko” in Art Journal, (Winter 2003) pp. 32 – 47

Design Visualization Using Maya/ Mental Ray

The main goal of the course is to teach how to realise design plans (as packaging design) using Maya and mental ray.

1st semester

Exploring of Maya User Interface, configuring of the UI elements, navigation, different levels of object details, shading. Using the Hotbox, hotkeys and the context sensitive menu. Introduction of the Camera Views and Panel Menus. Displaying objects and its parameters in Channel Box and Layer Editor.
Introduction of the Title Bar, Menu Bar, Shelf, Channel Box, exploring of Attributes Editor, Layer Editor (display and render layers) Outliner, Using Tool Box Elements and adjusting tool settings. Creating a new Maya project, including the necessary/most frequently used subfolders.
Starting to create scene elements from NURBS curves (modelling a cup) and polygon primitives, brief introduction to NURBS modelling. Selecting and transforming geometries: exploring the move, rotate and scale tools. Instances and construction history. Editing pivot point, understanding its role during the modelling, transforming and animating process. Object and component mode. Selecting and editing components. Snap to curve, point and grid. Editing polygonal mesh.
Construction history; hierarchy; scene elements selecting, parenting and grouping within Outliner.

2nd semester

Using lights in Maya. Creating different direct illumination and editing its parameters as color, intensity etc. Using light linking; ray trace shadows, and adjust its parameters to reach the desired result. Exploring of different render stats of an object. Rendering stills. Simulating indirect illumination, using mental ray features as Final Gathering and Global Illumination. Improve those quality. Using hdr images to improve the photorealistic looks of rendered images.
Introducing the Maya mental ray renderer tabs, (including: quality presents, anti-aliasing quality, ray tracing, final gather, caustics, global illumination.) Using sIBL and mip_rayswitch node.

European Modernism I-II

Centers and Peripheries: Intellectual Journey alongside the centers of European Modernism. Late-Symbolism and the northern “moralizing,” Early-Expressionism after Van Gogh.

Oslo-Berlin: The Life-Frieze of Edward Munch.
Brussels-Ostende: masquerade of James Ensor.
Vienna: Secession, the extension of painting with crafts, the decorative “Life-Frieze” of Gustav Klimt and the “Body-Scape” of Egon Schiele.
Paris-Collioure: “sensual expressionism” and “autonomous visuality,” Henri Matisse and the Fauves.
Dresden-Berlin: Nude in the landscapeand prostitution in the metropolis. Die Brücke Group.
Munich: Occultism, anthroposophy and spiritual expressionism. The Blaue Reiter Group, hidden symbolism in the expressive abstraction of Wassily Kandinsky. Universalism in the oeuvre of Paul Klee.
Paris: The Birth of Cubism in the esoteric dialogue between Picasso and Braque.

During the course, we concentrate on the golden age of the 20th century, before the “Great War.”

The first semester consistsof some introductory lectures to sketch out an overview of certain theoretical positions underlying the terms avant-garde and modernism. We shall analyse the historical background and the intellectual climate of modern art, the historical connections between psychoanalysis, Marxism, Social-Darwinism and art. A close look at the paradigmatic oeuvre of Edvard Munch will allow us to follow the intellectualturns and changes in attitude that occurred between the 1880s and the World War II. We shall also analyse the Pre-Expressionism of James Ensor, the Secesssionims of Gustav Klimt and the Expressionism of Egon Schiele. During the second semester, we continue to explorethe most important groups and individuals of Early Modernism.

Architecture in the 20th Century / Contemporary Architecture

Architecture in the 20th Century

(spring semester)

It is in a uniquely formulated interpretational and methodological context that architecture assumes the qualities through which it can be present in the observer’s interpretations of contemporary civilization. Architecture anywhere, anytime is visible proof of civilizational and cultural self-interpretation; it is a cultural phenomenon whose interpretation and analysis requires intellectual work and perspective. Thus, during lectures, students also receive (via the course notes)a methodological model/aid, an intellectual map of sorts, in order to improve the practice of their own artistic, or perhaps future teaching, activities.

I regard the ability to “read” the symbolic messages encoded in the visual environment not as a rational method, but as a capacity – or “sense” – that can be developed through practice. It is the cultivation of this sense, this ability to self-reflect, that I consider to be the most important task of future artists. This path can be rendered more accessible through imparting to students a familiarity with the systematized historical and/or regional study of contemporary architecture and the history of education. I believe that the experiences of familiarity with architecture can be converted to the experiences of familiarity with the domain of self-awareness.

Architectural History in the 20th Century

The semester aims to provide a chronological and regional overview of 20th century architecture. Movements in engineering and architecture in North America, the Chicago School, H. L. Sullivan and post-Sullivanesquearchitecture, as well as Frank Lloyd Wrigth’s work (1911, photo exhibition and monograph in Berlin from F. L. Wright’s work)practically rendered those with a vested interest in the progress of European architecture hysterical. It is to this that the architecture of DeutscherWerkbund, Bauhaus, De Stijland German expressionism can be traced back to. We review in detail the architecture of the French, Italian, German, Dutch, English and Scandinavian avantgardes, the peculiar modernization strategies of the USA and Japan, as well as the anti-human manifestations of impatient modernization – the architectural canons of the state socialisms and dictatorships (national socialist, fascist and communist versions), as well as their impact on Hungarian architecture. At the end of the semester, we analyse CIAM, late-modern, and pop architecture, as well as the origins and consequences of the postmodern.

Recommended literature:

  • Sándor Sólymos: 52 Lectures in Architecture (52 építészeti előadás), Volume IV
  • Zoltán Szentkirályi: Universal History of Architecture (Az építészet világ története), Volume II(relevant parts)
  • Nikolaus Pevsner: An Outline of European Architecture(relevant parts)
  • Jürgen Joedicke: A History of Modern Architecture
  • Kenneth Frampton: Modern Architecture: A Critical History
  • Bruce Alsopp: Towards a Humane Architecture
  • Wilfried Koch: Baustil Kunde - Das Standardwerk zur europäischen Baukunst von der Antike bis zur Gegenwart(relevant parts)
  • Werner Müller, Gunther Vogel: Dtv-Atlas zur Baukunst I-II. (relevant parts)

Contemporary Architecture – connections between the present and the recent past

(autumn semester)

The course aims to provide a chronological and regional overview of the architectural phenomena of the second half of the 20th century; the recent past as well as the present. The decades following WWII rendered timely, along with the restructuring of world economy, a radical reinterpretation of the paradigms of civilization and modernization. As a necessary consequence, the profile of architecture also changed, as attested to by the appearance of CIAM modernism, the crisis of the avantgarde movement, the manifestations of the late modern and pop architecture, as well as the “unexpected” explosion of the postmodern. The legendary movements of 1968 marked the end of a cultural and civilizational era. The systemic crisis of production and consumption brought an end to the era of power and military systems that had operated without contradictions. The ‘70s saw the end of the techno-optimist periods. Growth approached its ecological limits. The regional and chronological aspects/connections of global postmodernism, and the trends (of deconstruction and the new-modern) which have followed, show that new paradigms have taken effect. Hierarchical models have proven to be inadequate for interpreting global processes. The principle of the civilizational “system of centre and periphery,” taken in the traditional sense, had to be disposed of. Around the turn of the millennium, globalization processes could already be described through stochastic/chaotic models. This is also evidenced by the incredibly varied picture presented to us in post-postmodern times. Our courses analysing the connections between the recent past and contemporary architecture aim to present the oeuvre of prominent artists and to familiarize students with the more important schools, perspectives and trends of the period. The developments of the recent past are characterized by a unique value structure, according to which popular and timely trends disappear practically without a trace behind shriller and more fashionable tendencies, only to resurface later (due to the fading of the latter) in a renewed format and cover up other phenomena. The objective of the course is to explore this peculiar tapestry.

Main topics covered in the lectures of Contemporary Architecture course

Topic 1;
The techno-optimistic image of the future and the architecture of the techno-spectacle
Late-modern avantgarde, technical utopias, the optimistic vision of the future.

Topic 2;
The “market-related self-image” of the postmodern and its “vision of the future” – the great hypocrisis and/or collapse
A review of the POSTMODERN; Jencks, Venturi, Graves, Meier, Stirling, Rossi.
Celebrity cult in Europe and the US, double code and manierization.

Topic 3;
Eco-optimistic compensation for techno-pessimism – the “eco-spectacle”
The turn of “HIGH-TECH” architecture to “ECO-TECH” architecture.
The architecture of carefree state-of-the-art technology and environmentally conscious technologies.

Topic 4;
The symbolic restoration of the avantgarde – and an unexpected turn: 9/11
The philosophy of DECONSTRUCTION; Tschumi, Eisenman, Coop Himmelb(l)au.
The celebrity cult and the sudden end of deconstruction; Libeskind, Gehry, Hadid.

Topic 5;
On route towards deeper content – the reinterpretation of the modernist movement.
CONCEPTUALIST and MINIMALIST architecture (purism/reductionism).
The turn away from postmodernism, regionalism, critical regionalism, and retro-modernism.

Topic 6;
Connections between the “end-of-the-world atmosphere” and sensuality.
New architectural trends after deconstruction.From chaos metaphor to bio-metaphor.
Organo-, bio-, rizo-, and nanomorphism. New ornamentalism, emergence, and random structures.

Art History in Hungary

from the Roman period to the end of the 20th century

1st semester

The lectures focus on the most prominent stylistic periods, pioneersand artworks in Hungarian art history in order to provide a chronological overview of the country’s cultural tradition.The majority of the lectures will be held in the museums and galleries of Budapest, with the aim of becoming familiar with, and studying, original artworks. The course will start with the cultural remains of the Romanperiod in Hungary and continues with medieval art, based on the exhibitions of the Aquincum Museum and the Hungarian National Museum, respectively. With the objective ofstudying Hungarian paintings and sculptures – beginning with late-medieval wing altars,dealing with the Baroque portrait-painting, and continuingall the way to the artworks of the late 20th century– we will visit exhibitions of the Hungarian National Gallery and the Budapest History Museum.The project also involves the collections of the Vasarely Museum, the Museum of Applied Arts, and other running exhibitions in the capital.

The lectures place emphasis on famous museum buildings – which are among the most prominent examples of the history of the European architecture from the age of Classicism –with the focus ranging from Art Nouveauto contemporary museum-architecture.

Hungarian for Beginners

Possible course components: Introduction to Hungarian phonetics; greetings; nationalities; nominal phrases. Present tense forms of verbs, singular; numbers; adjectives. Plural of nouns; adverbs of place. Present tense forms of verbs, plural. Grammatical object/accusative. Adverbs of time. Infinitive; auxiliaries. Present tense of verbs, definite conjugation; etc. The lessons include extra programs, such as: presentations, visit to the market, watching films etc. Budapest, Hungarian food, history, arts, films, national holidays and celebrations in Hungary.