Nature Imagine a verb

Nature

Imagine a verb

Nature, Imagine a verb·

Vasiliki Sifostratoudaki Βασιλική Σηφοστρατουδάκη

My thesis/ H θέση μου submitted to the department of Piet Zwart Institute, Williem de Kooning Academy In partial fulfillment of the requirements for the degree of Master of Fine Art

Writing Tutor Lisa Robertson Tutorial Support Katarina Zdjelar Bernd Krauss Course Director Vivian Sky Rehberg

2015

Rotterdam The Netherlands

Before in the latin alphabet I was (kind of) a ghost in the situation This time is a thread, silk, coming out of me. Its me, I ‘m 35.

I would like to re-think Yellow i was red She is Yellow

Nature There is something around me that finds its way inside of me and back.

A relationship between the loved and the beloved like in the book by Ramon Lull.1 Every time I think of this, I have to put a white brush on the Tableau.

A straight forward brush.

Not in an attempt to erase him. Not in an attempt to make space.

By doing the action a white spot is written, a spot to be filled with other.

A space anew with no preconceived idea of how to be filled.

“There are stones in Greece, there’s white marble in one’s sleep there,” “Like the sky today unbearably clear” 2

Imagine a verb· A verb is a doing.

A gesture is an action As an artist, first of all I am asked to do.

Entry, Tell. See.Tell. Realise. Trust. Reassuring. Include.

Communicating. Understanding. Learning. Teaching. Serve.

Verbs operate as goals and tools for communication.

Index The game consists of some specific cut out pieces of a firm surface.

The player is asked to find the combination of the pieces in such a way that the desired image is revealed. The time for the combination to take place, relies on the player and is irrelevant to the success of the result.

One could play by themselves or with others.

First Tableau “A table, a tafle, ένα τραπέζι” Chambers three and four Second Tableau “The drawing of a table” Third Tableau

“The colour of the table” Notes Visited books: bibliography

Colour as texture

Entry Can I avoid time?

She is a she, I am a she I am her a woman.

She starts with Her and finishes in Him. The horizontal and the vertical. Horizontal is our relationship to the ground and vertical to the sky. We can walk everywhere.

I decided to write and re-write by hand the text about my thesis because by writing with black ink, words are clearer in sight and therefore it is easier to enter them.

I am thinking of reading and writing as keys which will let me in the rooms of the fixed points in H(h)istory. (History = time in the context of community or society and history = private time. Both incorporate past, present and future).

I can stare to infinity. In time all exist.3 Time is an elastic matter which like amoebae/ αμοιβάδες 4 reproduces its shape by engaging with the environment.

In shape H(h)istory and my work look like a polyhedron/ πολύεδρον.

In geometry a polyhedron is a shape made out of many surfaces chained together at least an one point. Points which are necessary for me to knit a net.

This net will operate as a table of context5. Its form is as if someone takes the grout out of the joints of the tiles and keeps folding it in infinite ways making it move or pause6.

On the panel of H(h)istory one could read, interpret, combine the ideas of others.

—But why H(h)istory? Why focus on the past and not in the present or future?

—Because inside H(h)istory, time’s called memory7; one can find out how different people deal with matter.

In H(h)istory aesthetics come to inform us about the shapes of subjects and ideas at that specific time. Looking at those fixed points, history becomes the tool for the beginning of an ephemeral8 construction built in experience and interpretations. The construction itself is a living organism which renews itself by merging past, future and present.

By reading I write9.

Reading is a posture of her body in space, a position, a thesis.

She usually reads seated on the edge of the sofa with her legs folded at the side. Or when reading in public, the right leg is crossing the left one, often leaning on the leg of the table. When lying down she often uses the book to protect her eyes from the strong light, either the sun’s or the lamp’s.

Once reading, the word/ λόγος, is heard.

Even if it is in a mute eternal voice.

“ She was sitting next to our beds reading extracts from the Papyrus La Rouche, Ydrogeion and a travelling encyclopedia. She had the same colourful voice when reading them as when she read poetry, fairy tales and Bible stories.”

In each book I enter another space, meeting people. Every time I think this phrase I meet Modigliani’s portraits of the people with the empty eyes.

I see their blue empty complete colour, I dive in them. I enter the cafe where everyone meets and looks at each other with their eyes.

My drive is clearly made out curiosity and desire. Desiring the effect of them, like the wind effects the rocks. Not knowing what I will find in these chambers, even though it scares me at the same time it challenges me to open the doors.

I will try to unfold the thesis/θέση in a plan of a house. In one that I come and go my self. This house has rooms, corridors, a garden and a balcony.

It is an apartment but one with a garden and from the roof top you see the sea in the middle of the city.

By reading you are already inside in the hall waiting10, chamber one.

In the second chamber, with the stone floor you will find the plan for chamber three and four. Here there is the catalogue of the titles of the texts numbered according to the page where they are found.

Once you are outside of the room, exactly next to door with the dark wooden frame there is the tableaux one, “A table, a tafle, ένα τραπέζι .”

By now we have walked in chamber three; at one of its sides, you can see a “china cabinet” filled with objects and their stories. Most of them have no clear role or reason to be there. But maybe like all the beloved objects, they have the ability to create a mark in memory. In this way to make the frame11 for the set that you already are familiar with.

While dusting them and even replacing them with others, in the shelves of the big “china cabinet”, empty space is made.

If you continue walking with me, in the corridor between the third and fourth chamber, you will see the second tableau: “The drawing of a table.”

On that all the greek words which remain on the text are placed. The only reason that the words are written in the greek alphabet is because, I, in this way can access them in the full form, colour, flavour and smell.

In the last open chamber, in the long corridor with mosaic floor, visited books are arranged on the floor, shelves and tables, and even on the sofa where I read.

All these books are used as an introduction to the plan of the house that we are in. An attempt for systematising the readings is not made, by no means is not what I would like to put in front of you. But i would like to invite you in a space that books operate like bricks not made by clay but by paper.

Yet, it is not an easy task. The classification and registration of the components of thoughts especially when associated with others.12 My final intention is not to fix the final shape but rather to move with it as it grows an grow with it13.

Stories and myths are growing like amoebae/ αμοιβάδες as well. They reform themselves in History.

By writing I am reading. I am naming the stories like in a drawing with pencil a dot and a line can be seen.

Once written, a space is made14.

Through description I enter.

A floor plan

First tableau “a table, a tafle, ένα τραπέζι”

An earth/η γη15 on which you are born,

An earth that one lives.

The soil which is healing and the one that She fed you from.

An earth that is remembered or dreamed at night.

The Earth which nurtures my nostalgia and the one that I desire.

Is the same Earth from which one makes with clay16.

Is the same today, as it was in the future.

A jar

Ai- sthetics,17 p. 25

Cleaning up,

p. 27

Exhaustion, p. 28 History, p. 31

Α gesture is offering a glass of water, p. 31

Matter/ Ύλη,

p. 34

Methodology, p. 36 A table/ a talfe/ ένα τραπέζι, p. 38

A line includes the factual, p. 40 Once upon a time. Μια φορά και έναν καιρόν., p. 43

What is the title?, p. 44 Witnesses p. 47 Lemons, two green parrots and a crow.,

p. 49

A man without a hut.. p. 51

and Colour as texture

21

Vasiliki Sifostratoudaki, Drawing, 2011 materials pencil, paper dimensions 15cm x 15cm

The time on a table

Encyclopedia: is my understanding of aesthetic value. An attempt to transcribe ones18 voice.

Ai-sthetics

They are because they are becoming. Aesthetics is a container. A jar which contains perceptions and ideas of the better possible arrangement, of the image of a world, in a specific time. Beautiful and ugly, ordered and not are some of the contents in the jar.

A white porcelain cup. With this example sentence a specific object is described but also its use and material. It is a cup from which you can drink, it is made out of porcelain.

Even though aesthetic qualities remain a factor that actualise a work they set also a field of interpretation to be challenged through participation and interpretation. Aesthetics is the container of the history of the visual.

25

Cleaning up

“I would be engaging in the sort of activity I liked most: cleaning up. I’ ve always liked putting things in their place. I think is my only and true calling. By ordering things I create and understand at the same time.” “Ordering is finding the best form.” 19

By cleaning up, one rearranges the objects and furniture in the room, making up a new volume of air to breath and space to move inside.

By cleaning my house, I too find the order of my thoughts.

By rearranging the furniture I research new ways for us to move together.

Once everything is in place often new forms arrive.

Mud in water.

A space that is in movement, coming from and going to.

A recess. Another knowing, liking something. Conjure up.

By looking on the water she finds her self. Narcissus flowers are blooming around the city of Rotterdam by Spring time.

With water one cleans, lustrate/ εξαγνίζει.

Her body gets warm only in the sauna steam room.

A baby is named when it is sunk in a pot made by copper in the temple. In the water of the sea her body connected with the spiritual and the ground/επίγειο. She was feeling the mud between her toes while holding on the moment of the in between the vertical and the horizontal.

Water. Is contained by the lands and divides them at the same time.

It gives life to all organisms. It reassures the I. With water one mop the floors.

A jar of water.

The water can’t exist in its container.

Ocean.

Glass.

It’s like fire, it’s doubtful whether it’s creating rather than destroying.20

At last there is a wave on the ‘water’ and my inner skull relaxes.

Soil.

I mistake it for the Sea, but it’s ok.

The sea is water and salt.

An all-the-time renewed water.

Having depth, the sea contains life and it is life.

It’s a distance between two pieces of land and it’s land herself.

How could someone hold the edges of the sea?

It is written and it becomes infinite.

I feel the cylindrical vase in the work “Someone is stealing my water”.21 A comforting feeling sinks in me when I am trying to see it. Its evaporation.

Through seeing the phenomenon I understand time. I understand Him. Time is a He.

You told me that you can hear the sound of the oxygen when swimming in the depth, and I wonder if you can hear the sound of her heart beat as well as yours?

I know time because of the wrinkles he makes in my hands when I am in the sea. In the winter she runs at night, sounds like the traffic in the cities.

I heard her maniac voice. I went near her in the morning. She was made of steel. By spring she smiled; in summer she loved. She is the sea.

She is a her and I am a She. We are.

The lake differs from the sea;

she’s another lady.

The sky gives her different colours. She seems to enjoy reflection.

By looking to the blocks of ice melting on the soil, in “Pantone Green and a glass of Lemonade”22 in Athens, I know what time it is, Ice indicates the time that the choreographed sculpture would end.

The water offers its reflection.

27

Exhaustion

As a state it’s explained as tiredness and fatigue but at the same time it could function as a waiting hall or as a point to start reading a map. After exhausting all the possible circumstances of the routine, a routine takes over the time and the awareness of movement within it, becomes a force. Exhaustion becomes the driving force where a new point is made or a pause.

Whether analysing or staring, both modes are unconscious.

But at the moment they become conscious an entering point is made.

A movement, a new association: in that way the ultimate exhaustion point becomes the agglutination point and a starting point, a border to be crossed. The control over the point varies with the control over the processes practised in the parallel times experienced.

Exhaustion then becomes a methodology of recognising and re-negotiating relationships between perception and understanding.

The looks of the result to a certain extent are predictable, in opposition to the relationships performed that are never known or given.

Creating a game with the exhaustion, is necessary for the point to happen.

Also for the source to make sense to the reader.

Through the action of exhaustion an extracting of decisions and observations is made. The aim is not to have a result or a status but to make up that extraction/ απόσταγμα. To lose and at the same time to be found inside the limits of the mixture/ ύλη. A mixture where the elements are distinct (but remain in their states, for example a mixture of oil and water).

When dancing with exhaustion, interacting with her, an ability for making even through destruction is offered.

Through the pressure, the reflexes are released. Using the known, makes up the space for a praxis to take place, through the unknown.22

Agglutination / συγκόλληση24, “agglutination is neither willful nor active.

I have already said that it is a simple mechanical process in which a merger takes place spontaneously.”

“With respect to every event we must ask which element has been subjected directly to change”.25

Extraction,26 I had to learn how to pick out dry leaves for the Pantone Green, I knew how to pick out stones but not leaves.

In the garden we must cut the broken branches, sweep out the dry leaves, to reveal the start of the new blooming.

Winnowing, disturbing the water to look for gold, separating the good from the bad seed of rice in order to cook it, sieving/κοσκινίζει the flour transforms it to a suspended dust in the room.

Blurring everything, even her.

When you sieve/ κοσκινίζω something you relocate what is there to reveal the useful parts.

In this way you make a different type of extract which is added to allreday known pile of others, Making a pile is a medium of writing.

Visual evidence, are arranged and in this way a product of a action is named and recognised.

29

If H = (h) = time I= I or i story = an interpretation of a narrative

then H+I+story = History History then is a subjective view on a narrative once is registered

History

History is a body that pulsates/πάλλεται continuously by moving is generating another set of positions.

For this text I will use the result of the equation of the word history that derives from a game with the continents of the word itself. As well as the hypothesis for a possibility, for the I to be written sometimes with a small letter instead of capital one. Not because I would like to imply a less importance or value of the position of subject in the sentence but maybe imply a different relationship with in the sentence itself.

This body, of History, even though it expands continually it remains stable in form and volume. Its movement is smooth like the molluscs/μαλάκια beneath the surface of the ocean.

Its form adapts to its movement. For example if is going up the cliff it would stretch to get there therefore it would look slimmer.

History is a personal story said through an intense dialogue with others. The dialogue could take place by “reading time” through experiencing it (present) or through research it (past), and by walking in it (future).

At the same time an tone of authority is given to the voice of History.

A trust is build up by the sound of an intense conversation. The overlapping point of the voices participate in the dialogue suggest the structure, which is amplified by the research and the personal tone of writing and reading.

Even though the construction is solid, by solid I mean it could be repeated and moved to different circumstances. At the same time it is a mechanism that produces the result of the research and names the elements which constructed in the specific moment. History then becomes the tool for understanding our thesis in the landscape of time.

31

*Oikonomou, available: http://issuu.com/dora-economou, [Accessed: 24/ 07/ 2015].

H to provid ow do I make u p e the co mpositio imagination w hen the nal mat re is no erial? prese

nt or pa

Picture by Vasiliki Sifostratoudaki, 2015

st exper

ience

Α gesture is offering a glass of water

The painter can only make his colours himself. The sculptor keeps using his hands in the same way when he folds his clothes. The philosopher keeps thinking in the same way when he makes a cake with raisins.27

An author has strong influence on the limits of their result. But the gesture brings out a knowing that is not necessarily determined in one archiving/saving box.

In Doras Oikonomou* works a noticeable small gesture is seen in the fold, choices and agglumination points which makes her gestures distinct and imposible to reproduse. I am guessing is her posture that writes with her hands on the materials which come as a result of her long walks.

Not as signature nor as a mark of her heritage or herself. It reveals the process of making, the time spent, the experience, the origin of the action.

Times vanishes.

Gestures connect the action with the local space and at the same time they are transformed to a greeting.

By greeting I mean a gesture that becomes part of a broader whole, probably configured with other movements. When saying good morning a reply is formed, perhaps a look, a smile or even a good morning in response.

My work is developed: in the scale of a gesture. It is a sculpture that moves within the elements realised in the specific place and from time.

I always operate inside the composition of site, maker (including audience) and object. Time becomes the agglutination point as well as escaping point.

Place/ τόπος provides the plasticity of the work.

The Mirrortulips,28 is an invisible garden and sculpture. It is made out of 100 tulips planted inside the garden of the Piet Zwart Institute and the parking lot that is around the building. Once they bloom they connect with the ones around them.

Drawing on a white paper gives me the flexibility to move in a specific space and a determined time by that space. When writing on the paper lines, with different sizes and intensities, a surface of countless layers is created.

A permeable/διαπερατή surface which is depicting a three dimensional space. Modelling that very space into a literal construction, like the shadow of the glass of orange juice in the picture.

Writing on a paper means making the topology/ τοπολογία of the page.

Looking is imaging.

33

Matter/ Ύλη

With the collection which turns in a selection a dialogue is created with the people and the places I am living with.29

Its issue has a separate format and size. The publication is used as platform for researching, a case of saving material but also as an open notebook which exposes thoughts and causes an exchange.

Each material is testing the size as well as the abilities of the body.

Desiring a pleasant position, forcing it to stand or bend in such a way that it could find its balance with and through the extension.

Their transportation is another use, of the materials, which causes a posture/posa/ θέση to the body.

For each material to be moved around and used, a specific attitude is necessary. In order to understand how it should be treated and most importantly maintained in a specific condition. Τhe realisation of its size, weight, volume, texture is essential.

In this way the materials are dressing up the body. Often predispose the viewers of the action to certain behaviour.

Assisting, helping, getting annoyed, smiling, mocking.

Having to cycle and do the last minute shopping, before The Island which is folded like a dry bread30 takes place. Made clear the dimensions of different stores. By expanding my own size to three meters long, I had to re-negotiate the space around me.

Limits are challenged by moving with the materials, inside a privately owned space (store), or in public (street). The pre-assumed abilities of the body, by the self and others, become a tool to measure both space and possibilities.

As the size of data in the card of the camera determines the number of pictures taken for the documentation of an event, in the same way the means of transportation determines the volume of the materials. The body in each turn becomes a canon of measurement.

When diving in the water, the body is doing an impossible

action, breathing under water. By extensions- materials- the body aquires different dimensions and abilities. It realizes its limits and prepares to welcome the other.

The idea of impossibility is generating our ability to do it. Is the medium by which a hypothesis is stated and a research is built.

She is always working with clay but she is allergic to him.

She is not allergic to mud. I work with unbaked clay.

Clay and mud include different times.

The first one One is forever and the Other is from the past to the now.

Both when entering the future it attain an instability.

In never, forever exists, but in forever, never disappears.

Using time as an entrance and at the same time as an exit, each work is in the agglutination point of their meeting.

In mud clay becomes and in clay mud is. Inside my moving sculptures, the time frame takes over and a stability is created.

The materials through their independent conditionality build an environment with us.

The description of a memory requires imagination, but the imagination of an experience asks first of all for a narrative of events to be pinned down.

Vasiliki Sifostratoudaki, Drawing, 2015 materials soil, jars with soil dimensions 7m x 3,5 m

35

Methodology

Placing them in space,

Piling up, Looking,

Storing,

Making,

Waking, Comparing them,

Photographing,

Writing down,

Cleaning,

Repositioning,

Exhausting in discription, Searching them,

Transferring,

Storing for loosing,

Saving for later,

Telling them, Gluing together, Discussing with them,

Assembling,

Taking apart, Remembering them,

Composing.

Presence.

Here and there, there and here, above or below, not here but further.

I am here.

Neurologists and psychiatrists who work with amnesia use a camera attached to the forehead or the neck of the patient to take pictures.

Unconsciously. It recovers the memories of the patients with short memories.

The patients only have to wear the camera.

Later on the images are shown to the patient as evidence of an event.

The aim is for the patient to re-invent a way to contact – remember – the experience by himself and in that way to regain the ability to remember.

What was surprising in the example used for the presentation of the mechanism was that the memory captured what I would call unimportant details of the environment (the pot in the corner of the room when the beloved was entering the room) rather than a narrative or the subject of the events.

Comparing them afterwards with the agenda/calendar of the patient, a possibility of a tool for the ability of constructing a narrative through memory is created.

Photography is a tool of writing or erasing. Each photographic lens has a certain frame and the frame is always made. The frame itself is a square or a rectangular shape.

I use photography as a way of taking notes on the think(g)s (sic) I see.

The camera in this way becomes a maker of the image. Sometimes, like a magnifier lens or a microscope, it shows details. Other times it works as a cleaning product. Often it functions as a pair of scissors.

The icon31 in its turn becomes a carrier of evidence of reality.

It overflows with meanings.32 Their limit is the capacity of my memory card in my cellphone.

By using photography to write things down, a new hypothesis is made for imagination to exist.

Random, the materials cannot be random since they are parts of a process, through selection. The alignment in a new group means giving the materials a role in it. Their number, volume, colour, texture, position, is important but one could be replaced by another.

The golden stone in the “Can you hear the smell?,” could be replaced by another block of another material of the same volume and be appropriated/ οικοιωποιώντας with the same gestural mark.

In the “Can you hear the smell?,” a pair of objects must always remain in the composition in the space. Golden stone with a bucket, the soil on the floor with the paint on the wall — the space is taking place with the “self” on the wall, (the self could have a physical presence or not. In this case there was a postcard from Creta, with the word NO-STALING (sic) written on the bottom of it with a black marker).

37

A table/ a tafle/ ένα τραπέζι33 is a tableaux of contexts and the amphorae of my practice.

Inviting. A table shapes the empty space around it. It is its hearth/ εστία.34 The idea of hospitality and work varies from place to place. Both are closely connected with ones understanding of the personal life and social roles, as well as the idea of working and laziness.

A table with a glass top and with four metallic legs. This table used to be in an office, he used it to make books and plan business meetings.

Now, it is on a green field under the blue sky.

The guests are of different ages, social and cultural backgrounds.

The food is served in white plates and the glasses used are made out of transparent glass.

A tablecloth is covering the glass top the way the hail covers a garden in a winter morning.

Lots of voices are making up the space of the occasion.

My table is set on the floor, on a grid of objects and movements.35

A table made of concrete.

A motif of a marble flower is on the top and it has a concrete leg.

It is in an island, on it I have an early breakfast behind the white cotton curtains.

A table with a wooden flat top and one leg. Inside a room it is used as a desk before the examination room.

A table with white marble flat top and a rectangular metallic frame for a base. The marble table rests on the paved courtyard. It is the place for cooking, preparing, feeding, gardening flowers. It is also the place where the afternoon coffee is offered. The table is on a grid made out of concrete tiles with patterns geometrical shapes of organic shapes (flowers).

The frame which hold it is made with one-centimetre cubic rods. The marble is white and reflects the sun light to the balcony in the first floor. The marble is always cold.

It has white “waters” running in it, it is marble from the mountain Dionysos. The colour on table is light creme at 9 o’clock in the morning, bright salt white at midday, orange-grey at siesta time, grey in the afternoon and almost visible moon white at night. Its “waters” can only be seen from the first floor when the sky is cloudy.

Tools: pair of scissors, cutting knife, a ruler, a square rule, pencil, clay, scotch tape, masking tape, yellow Post-it, jars, plastic bags, a instant coffee maker, UHU glue, Pilot 0.3 ink pen, Moleskin plain notebook, a white sort ceramic cup, a glass for water with no curves, pencil, a thread, a needle, a fork, a knife, oregano in a jar, a camera, a white plate, a glass, a glass for water and a tea maker.

Drawing: always moves back and forward in time. Cooking can only move forward.36 Drawing is a way of reliving the shadow on paper.

39

A line includes the factual.

The existence of the line is determined from a series of points and their continuous succession, as well as from the space between the points, which connects them.

In their turn the points exist because of the existence of the line, her starting point and her finishing one. The realisation of the line is inextricably/ άρρηκτα connected with the movement of the body inside or outside of her. The visibility of the line depends of the distance from her.

One point is next to the other and aligned with the previous and the next one.

Each point is important for the next one to exist.

A space, is, where measured information is transformed into material for under-studying the substance of what is around us; including ourselves.

I will try to develop a sense of literality with my work.

Trying to visualise the moment inlucing the pause in between. That exact moment when the body seems to be in full awareness.

It seems that in a tone of a moment

she realised she had to go,

at that moment the pink colour was gone from the chicks.

What is it if is not, the exact realisation of life when someone decides to move on?

The sentence makes up the space for the comma to exist.

H πρόταση είναι η προυπόθεση για να υπάρχει το κόμμα.37

If a line is a succession of dots that the eye can’t detect. With the appropriate magnifier lens one could see the appearance of the ‘dots’ —each one of them of them would have a different shape.

A metaphorical example for the line could be found in the landscape of a mountain, on the ridge/ κορυφογραμμή 38 or in the line that unites the sky with the sea.

The materiality, of the line, is equal to the result of the equation which adds up the materiality of the points. Each close reading though could have the form of the spaces created by the multi figured shapes and the gaps between them revealing their relationships. The form in this case could resemble the ideal form of, but by being constantly interrupted from the impacts of time it remains an unfinished result/ατελές.

Τhis hypothesis though is relying on the fantasia of the individual observing her. The precondition for actualising the action is the physical presence of the observer. Using for a tool the fantasia/ φαντασία. Fantasia is performing the narrative which is composed by several information/icons rearranged in ones mind after being seen or realised.

That could transform the line to an experience which requires re-adjusting the position of the body more than once, for her to be seen.

The horizon/ O oρίζοντας. The horizon in the Netherlands is a part of a circle, which I can make by turning 360 degrees using myself as centre point. Because of the flatness of the actual landscape, this very line moves with you, having the length of your eye-span and no ending or beginning point. In opposition the horizon in Greece the horizon is somewhere between mountains or from one island to the other. In this way it remains a straight line.

41

Once upon a time. Μια φορά και ένα καιρό. 39

Numbers, Beckett is trying to count the steps. One. Where do I place the one.

Is it on the first step? Or is it at the door ster/ πλατύσκαλο? I myself count them differently every time. It is not just the steps. It is the petals of a flower. How do I count? Which one is one? One step with the one that you wait on (pavement).

Step two, is the one that keeps you dry when it rains.

One, two, three, four. Is it important to know how many there are? It is different every time. I know the steps are there and they are different every time that I am different.

Placement, on the table, under the table, on the floor, at the wall? Or beside?

Under the ceiling or under the sky. Inside the universe. By my side, next to me, with me, inside of me, around me, away from me.

Who knows whether to say that the sentence consists of four or of how many words.

— Well, does the sentence consist of three syllables or of nine letters and seven gaps in between them? Or an outcome of my thoughts? The idea of counting includes numbers and letters but numbers are letters of another system. An economy of thought is made every time a sentence is written.

43

What is the title?

Παξιμάδι40 the wind lifts the sand at the shore and the island is not there.41 Layers after layers of time are overlapping in Athens. The moment seems to extend from past to present, and an architectural collage is made with multiple layers of ruins and buildings, which now and then is hiding the future.

An lawless/ άναρχο plan of the city expands with no clear logic and design. It creates a labyrinth in a meander shape, where the ancient ruins are in between the modern apartments/ πολοικατικίες.42

One can feel lost when trying to compose a rhythm in the city.

We can choose to go back and forward in time at any moment.

To move sideways or jump in time. Iν this way memory and presence become a vehicle for ttravelling in time. The future requires a form of presence which belongs in the imaginary.

The clay that is not baked. He is almost five years old, has several jars in front of him, he fills and empties the water from or with them, the sun is all over.

He is on a small balcony which operates as a scene or a theatre for his performance.

By making objects with mud it is easier to imagine the relationship between thinking and doing.43 Using mud as a common space. A space that doesn’t belong but it is in between. It is in the air, the water that runs through the soil in the fields, the space between the stones which decided the boundaries of my land from yours.

“The Greeks have always preferred walls of brick, except in those cases where they could find silicious stone for the purposes of building: for walls of this nature will last for ever, if they are built on the perpendicular. Μarkinwith soil”. 44 Once marking the walls of a house with mud it is easier to think like if you are already inside of it.45

Porcelain is elegant, and gracefull. It has her own tempo. She is not an amalgama— she comes from the top of the mountains. Determination is required before starting to work with with porcelain.

She claims her role from the start. She is not as flexible and has certain demands when she is to be moulded. The temperature is important, the surface on which she is folded, the time that allows you to touch her. She is the lady in command of the work. She can’t be moved, at least not before the biscuit stage.

When dried she is transformed to a compressed mass of almost white-grey powder, which is extremely vulnerable. Once baked she gives out a reflective transparent white which captures attention like the morning sun.46 Even when vitrified the feeling of touching her still reminds of the fluidity of the touch of silk.

Terracotta clay has a fine feeling as a dough. A dough made by a white flour.

With a wire and without much pressure you can detach pieces from the main block. When left to dry it needs more care than when molded. Until it is ready to be baked it goes through many stages of drying. In all the stages repairs must be made. Another option is to violently leave it to dry directly in air; by cracking another shape will be made.

The future seems not to becoming in the moment/ Το μέλλον είναι σαν να μην γίνεται στη στιγμή 45

Witnesses

Different witnesses of History are making its surface accessible to us.

I feel the usual breeze on the terrace of the museum under the Acropolis in Athens. The only ones that stay there forever are the olive trees. They say they are αιωνόβια/ perennial. Their leaves are silver on one side and grey-green on the other. They are small leaves made of irregular arcs. They don’t move or change much. They are evergreen trees.

Its trunk is complex. Its wood is goldish and hard, and has a lot of wrinkles made by the wind twisting it. The shape of each tree has to do with the wind and the soil. How can I be sure that they are not the same ones— they couldn’t be, could they? Would they be there forever?

On another site in Piet Slegers, Aardezee, the trees stand there as witnesses as well. Their leaves are also silver on one side and on the other side grey-metalgreen. Their leaves make a shivering sound in the summer and a thick shadow.

These ones are tall. In the winter they have no leaves so only the trunk and branches are left. Eyes are engraved in their trunks. They are not made by someone but were made from the tree as it grows.

They too stay by the sculpture witnessing its changes when nobody is there to walk or rest.

Nothing is the same as then. But I can still read the letters engraved in the marble and understand.

47

Lemons, two green parrots and a crow.

The flavour of lemons numbs the mouth, like a million small metallic balls are tickling it. The skin of lemons is shiny, its feeling buttery, slippery and reflective. In contradiction with oranges that osculate/ εφάπτονται in the palm, lemons adjust/ εφάπτονται to your palm.

Their yellow is citron yellow. The sight of citron yellow gives out the feeling of freshness and cold. The vase with the yellow flowers on my table makes the horizon of The glass of water broader.

One. The lemon tree is on my island, Salamina. The tree is so young, that its fruition produces only two lemons. I can still feel their taste, their flavour.

My lips felt numb from their sourness, their white mesocarp is soft as pillow. I could feel their sourness, standing in the doorstep of the kitchen. I could see them the moment I decided to cut them from the tree.

Two. That one was not mine. It was inside a garden built with concrete. It is the only plant in the garden. Only half of the lemon tree is seen the rest of it is hidden by the concrete fence. An old man lived with it for many years. But know the lemon tree lives only with the cats.

Three. A lemon tree is under my balcony in Athens. When I hang out my clothes out to dry in the sun they touch its branches and thieve its sense. In the winter days the lemons have the same colour as the sun light. They disappear.

Four. By finding the lemon tree in the green house in Rotterdam, I have found myself in a new place. It is small. I made self-portraits embracing

Yellow/Yellow

49

A man with out a hut.

It was an oval room on the first floor of a museum. One part of its walls was formed by a huge oval glass facade from which the garden could be seen.

A sad skinny man was walking in the room. He was about my height. The man was standing in front of the glass facade. I saw him the minute I entered the room. He stood next to the Marcel Duchamp urinal.

I stood quietly, not for long or maybe for longer. I had never experienced this before, not from a statue. He was supposed to be still but I wanted to feel him.

On our next meeting, I had to. This time I could only see his face and bust. I was in the almost-empty museum. The figure of Giacometti’s was behind a door on a huge grey cube. I told her to keep watching at the door. I closed my eyes and started feel his face.

In every little thumb print my fingers matched. The figure felt bigger than it actually was. He could be one or more finger thump prints. It was soft even though it was metallic.It felt cold, without blood distant. I think for a second it absorbed my temperature and it was not that cold anymore. Or was it the other way around? I am not sure if the experience it is a memory anymore.

When he made him, he seemed to use a repetitive movement. It was as if I had to follow the same route of his hands from one point to the other.

Smooth pressure points on the surface of the sculpture. It sounded like the plop of the waves in the sea – it was not static. Nothing was out of place.

How did he make these figures? I never looked. I once read that everything in his studio was covered by layers of dust. It seemed to be a place of a different economy of time. Where time was not erased.

Respecting the level of privacy that this time frame implied I chose not to do further research on the methods that were practiced in that space.

I tried to meet him through their results, the sculptures that were produced inside that space.

51

Second tableau “The drawing of a table.”

Visited books ADNAN, E. (1993), Of Cities & Women (Letters to Fawwaz), Sausalito, CA: The Post-Apollo Press.

Adnan, E. (1997) There (In the Light and the Darkness of the Self and of the Other), Sausalito, CA: The Post-Apollo Press.

BASBAUM, R. (2006) Within the Organic Line and After. In: ALBERRO, A and BUCHAMANN, S. (eds.) Art After Conceptual Art. Cambridge, MA / London: MIT Press; Viennna: generali Foundation.

Lucy (2014) Directed by Luc Besson. USA: Distribution company.

BLOG THEA. (2008) Πούλια και Αυγερινός, [Online] Available from: http://blogthea. gr/τα-παραμύθια-μας/19506-η-πούλιακαι-ο-αυγερινός.html, [Accessed: 15th April 2015].

CHEMICOOL, Definition of Extraction.

[Online] Available: http://www.chemicool.com/definition/extraction.html.

[Accessed: February 2nd 2015].

DIDI-HUBERMAN, G. (2010) Atlas: How to Carry the World on One’s Back, Museo Nacional de Arte Reina Sofia.; Museum fur Neue Kunst (Karlsruhe, Germany); Sammlung Falckenberg.

ELIASSON O. (2014) The Shape of an Idea, https://www.youtube.com/ watch?v=M1XZ17DCJng. [Accessed: 27th May 2015] FOUCAULT, M. (1994) The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books Edition.

LULL, R. (2000) The Book of the Lover and the Beloved, Catalan Series. Cambridge, Ontario: Parentheses Publication.

LISPECTOR, C. (1988) The Passion According to G.H., University of Minnesota Press, Minneapolis.

Melville, H. (2010) Moby-Dick; The Whale.

London: Kingsford Editions.

Ozkan, D. (2001) Spatial practices of Oda Projesi and the production of the Space.

[Online] ONcurating.org: Public Issues (Issue 11/11). Available from: Insert URL here. [Accessed 27 May 2015].

Ramfos, S. (2012) Time Out, the Greek Sense of Time, (Ράμφος Στέλιος, Time out, Η ελληνική αίσθηση του χρόνου), Εκδόσεις Αρμός, Athens: Armos Editions.

Rilke Rainer, M. (2005) “Γράμματα σε ένα νέο ποιητή” (Letters to a Young Poet), Εκδόσεις Ίκαρος, Athens: Ikaros Editions.

Saussure Ferdinand, (1959) Course in General Linguistics. New York: Philosophical Library Plato, Timeus, (1999) Revolution[Online] Available from: http://www2.hn.psu. edu/faculty/jmanis/plato/tomeus.pdf, [Accessed: 28th February 2015].

Pliny the Elder, The Natural History, (AD 77–79), John Bostock (ed.), [Online] Availiable from: http://www.perseus. tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D35%3Achapter%3D32], [Accessed: 15th January 2015 ].

Colour equals texture

Summer Lunch.

The coat she is enclosed in is so thin and can barely be seen by the buyer. But through its delicate texture one can know how sweet her flavour will be. Her texture is similar to the soft skin of the fingers tips of an old person. In the depths of her body, the yellow seeds keep the promise of taste. Through her aroma the house smells like summer.

She was cutting her from the short tomato plants while his wrinkled hands were teaching her how to choose, which ones of them were ready to be picked up and which ones she should wait for.

Colour has pro-transcribed information on it. Like the ready mades of Marcel Duchamp, themselves stimulate several associations when recognised.

It functions as a jar. It holds something inside. It determines the margins of the object and the feeling of touching when attached to the other.

While drinking the mud.

By his warmth he worms the body. My mind wonders in the colour of wood, and I recall the sounds of our meeting in the Kafeneio. The exact one that had yellow walls, wooden chairs and tables.

The colour of the mud is not a colour but a situation. A status. Earth is brown. Soil and water is brown.

In the field the yellow flowers inscribed the edges of the recently ploughed soil.

Colour itself is a digging tool. Alters surfaces.

Is creating escaping points in a room in the same way it does in a tableaux.

It informs us about temperature and danger. It reveals memories and recalls feelings. It can not be traced through other senses than gaze and imagination. When describing a colour a number of metaphors are necessary to assemble the particulars for the exact completion.

Colour also measures the distance between objects. A red is as loud as the black. A yellow is moving faster than green and purple is still.

Brown seems to smooth out tension and brings things together, it heals.

On a still life the limits of the gesture of a painter are revealed by each touch/ πινελιά on the canvas. The gesture is entering into a different dimension, the one of the cosmos, when the discussion is focused on the qualities of colour. Then comes the meaning, the interpretation perhaps even my own opinion.

In a white living room with white furnitures the eye wonders in the same way it does in a green field, from point to point until it meets a tree and stops.

With colour, the room acquires curves and lines. Like Calder’s mobile sculpture’s, causes a movement which is a becoming choreography of the I.

With the Untitled project, even though all the works kept the natural colour of each material— dried dough, white paper, pencil, plaster, light wood, black and white pictures, clay, plastic— the room was full of colour.

The dough was yellow and a bit of light green in its edges.

The reflection of the light from the wood was so warm as the red of a fire.

On the white wall, the wood was transparent, only seen by the reflection of light which was yellow.

The plaster was a grey pebble.

Light blue was coming out from the drawings with pencil.

Pink, was the caramel with the alabaster white complexion.

Olive green was the terracotta clay, like her skin.

She wore a dress in light salmon colour.

Almost o r a n g e , was the music box.

A wooden box, on which an embroidery, made on a Japanese roll of silk paper, was resting.

Iron gray was the plastic transparent column.

White on white was the folded paper, attached in the wall of the room.

In any circumstance the tree is green.

It keeps its colour, even when is not written at its image.

Colour is the portrait of people.

Each of the portraits has one or more colours.

AmedeoModigliani’s portrait of a boy the blue is floating his clothes and escape form his eyes.

In Pablo Picasso’s portrait of a woman with a red hut, black cut out stripes make the face.

Matisse’s green line divides the face.

George Bouzianis’ watercolours make his dancers dance in darkness.

Nikolaos Lytras, yellow hut on the mans head is yellow as the haystacks of Claude Monet.

Theodoros Stamos and Mark Rothko seem to have a conversation with a different sun light.

Gold is the reflection of the light on the blue sea in the afternoon in August in Hydra

and in the afternoon light during spring on water in the dykes.

An endless silk threat is threaded on their water surface.

Dark green with a bit of black is the sound of the forest.

The green which I saw walking in mountains of Germany

come out from the deep forests of Andersen fairy tales.

Inside each material there is a colour. One which characterise it and one which transforms it always in relation with what is next to it.

Henrys Moore’s sculptures under the sky talk with the small clay figures of Yannoulis Chalepas which could fit in between your hands.

A white paper is never white, is often grey, green or even yellow.

What colour would it be in Antartica?

Pierre Huyghe, Antarctic Dreams are still grey.

Maria Papadhmitriou is building with colour and Oda Projesi make up public gardens in Instabul in Galata where people meet.

For colour to be read is not necessary to be seen, it is transmitted by the arrangement and by the matter is contained with in. It is produced by our senses.

Like an rather outline, starts with the inside and is filled up with movement and placement of points through imagination.

Drawing is another language in which colour is included. Everything has there space in a drawing, a line is next to the dot and above the smudge.

Once she remembers the drawing the ability to derscribe is making λόγος/ a voice.

The begging and the end are in the same dot.

The first dot must be made for the point to exist on a paper. And the space to be inhabited. In Trisha Brown’s floor plans of her choreography’s and John’s Cage’s partitouras, which look like her drawings of smudges, position of bodies, sounds and relation are written.

The curves of Rome in the white buildings make up a labyrinth, in the site, which demands to take black and white pictures, in order to find the exit.

Texture and colour belong to each other, they are always becoming one body.

Yellow is the triangle of Kaminsky.

What colour would it be if another point is added to the triangle?

And which associations could it imply?

A common place, like the shadow, which belongs equally to the body and the pavement and is made by change of the colour on the pavement caused by her. 49

By naming one is rememberd. Colour would become a subject itself.

Another i, that once seen and named would be able to initiate the game and become a vehicle for metaphors to make up reality.

Acknowledgments

How could I thank my guides and companions throught the making?

I would like to give a thousand thank yous to Lisa Robertson, because through her generous suggestions and kindness not only encourage me through this journey of writing but she made it possible to visit unknown places and discoverys to occur.

My tutors, Bernd Krauss, Katarina Zdjelar, Jan Verwoert and Liesbeth Liesbeth Bik for their amazing guidness in building up my thoughts and their wonderfull companionship. Kate Briggs, Steve Rushton, and Vivian Sky Rehberg for being a beautiful inspiration to me.

I want to mention and thank : Antigoni Michalakopoulou (Artist), Dora Economou (Artist), Manos Tsichils (Artist), Nicolas Paris (Artist), Jonas Van Bockhaven (Doctor in Applied Biological Sciences), Jack de Graaf and Jacob Kok (Botanical Garden in Kralingse), Petra van de Kooij (Course Coordinator PZI MFA), Patrigio Ferrada Mercado (Keramic workshop in WDKA), Sofronia Eliadi and Vasiliki Sifostratoudaki ( grandmothers) for their systematic support in the process of making up ideas and objects.

For dancing, laughing, discussing and eating together.

Sol Archer, Sighle Bhreathnach-Cashell, Tiffin Breen, Susanna Browne, Hunter Longe, Alice Mendelowitz, Sriwana Spong, Clara Johansson Borg, Liz Allan, Perri MacKenzie, Giorgos and Theodora Sifostratoudaki, Wim Sjerps, Christina Martin De Juan, Kristy van Mil, C ristin Metho, Marina Kaloteraki.

Notes 1. (Lull, 2000) 2. (Adnan, p.58) 3. (Besson, 2014) 4. amoebae: An amoeba is a type of cell or organism which has the ability to alter its shape, primarily by extending and retracting pseudopods. Amoebae do not form a single taxonomic group, but are found in every major lineage of eukaryotic organisms.

5. An offering table, a table for cooking, a dissecting table, or a montage table… atlas: table or plate? (lumina in Spanish, but French planche, like Tafel in German or tavola in Italian, has the advantage of suggesting a certain relation with the domestic object as well as with the notion of tableau. Structuralist period, they used to talk a lot about the table as an ‘inscription surface’., (Didi- Huberman, p.18 ) 6. She escaped the object in favour of the “event”, quite early on to establish a continuity between art work and real world, between life and art. Lygia Clark likes to exemplify the organic line as one we can see “between the window and the window-frame or between the tiles on the floor’, (Basbaum, p.87-89).

7. “In memory of a woman there is always the memory of several others, as if to be woman and to be memory were one and the same thing.” (Adnan, p.54) 8. “And happiness,in the street is only ephemeral. But the ephemeral has the power to enrapture/ γοητεύψει, like the moment when I stand before a shop that sells television sets which all show simultaneously the streets of Granada and a Southern singer in a passionate frenzy.”

(Adnan, p.56) 9. Quoted from Walter Benjamin: to read the

world is something much too fundamental to be confided to the books alone or to to be confined within them: for to read the world is also to link up things of the world according to their ‘intimate and secret relations’, their ‘correspondences’ and their ‘analogies’ ‘reading what was never written’ (was hie geschriben wurde, lesen) ‘such reading’, he adds ‘is the most ancient: reading prior to all languages’, (Didi- Huberman , p.17) 10. ‘ “She is born naturally seated, and Penelope does nothing but sit. She is pure waiting.

She weaves and unravels her work. She is the one to be Sisyphus. And for the waiting to be perfect, she must produce nothing lasting with her hands.” (Adnan, p. 59) 11. (Plato, p.19) 12. From chapter 34. Getology, It is some systematised exhibition of the whale in his broad genera, that I would now fain put before you. Yet it is not an easy task. the classification of the constituents of the chaos, nothing less is here essayed. (Melville, p.139) 13. Giorgio Agamben defines gesture as something belonging “to the realm of ethics and politics and not simply to that of aesthetics.”

He adds that, “what characterises gesture is that in it nothing is being produced or acted, but rather something is being endured and supported. The gesture in other words, opens the sphere of ethos as the more proper sphere of that which is human.” (Ozkan, p.51) 14. Sifostratoudaki Vasiliki, drawing with pencil, 21x 21cm, Athens, 2010 15. The words earth and sea in Greek are female nouns.

16. Stirrup jar (LM IIIB). From the Palace of Knossos BW.

17. Aesthetics in Greek αισθητική, the sound e = ai is a bit longer, ai-sthetics = aesthetics + decoration = aesthetics that are not recorded in Art History 18. (Rilke, p.15-23) 19. (Lispector Clarice, p. 25)

around it. The audience being the students, tutors, the residents, and the pedestrians walking daily to go to work from the otherwise hidden parking.

The work consist of one hundred portrait pictures, exhibited on line or in printed format, of the moment when the bulbs where placed in the soil., Vasiliki Sifostratoudaki, 2015

20. MARVELLOUS FACTS CONNECTED WITH FIRE.An element this, of immense, of boundless power, and, as to which, it is a matter of doubt whether it does not create even more than it destroys! (Pliny the Elder, Chapter. 68)

29. Sifostratoudaki, http://issuu.com/vasilikisifostratoudaki, 2014 - 2015

21. Someone is stealing my water, is a slide projection of a non-sequential documentation of a cylindrical jar full of water that evaporates. On each photograph the date as well as the time is written that it was taken, Vasiliki Sifostratoudaki, 2013

31. Seen in The Oasis of Matisse, Stedelijk Museum Amsterdam (on 16 of April 2015) Henri Mattise cut outs, “Polinesia. The Sky,” 1947,

22. Pantone Green, is an action that is performed by a group of people. Several gestures are suggested—cutting, hanging, composing, and discussing—in order to decorate a corner of a room and create a common site.

An invitation to complete a possible script/ score/ invitation of inhabiting a given space is given to participants. The outcome could vary, according to their decisions and intentions as well as according to the local materials used, Vasiliki Sifostratoudaki, 2013.

23. Sifostratoudaki Vasiliki, Χωρός, 2015 24. (Saussere, p. 176) 25. (Saussere, p. 181) 26. Chemicool, http://www.chemicool.com/ definition/extraction.html [Accessed: 13th January 2015 ].

27. (Wittgenstein, p. 14) 28. One hundred tulips planned between the two gardens on a Sunday morning. An invisible work. What differentiates these one hundred tulips from the rest growing in the Netherlands or in plantations around the world? Perhaps their connection with the two gardens, one belonging to the school and the one being

30. Sifostratoudaki, http://vasilikisifostratoudaki.gr/Blocks-of-water-1, 2012

32. (Ramfos, p.36) 33. On line Oxford dictionary, language matters 34. On line Oxford Dictionary, [Accessed: 8h April 2015 ].

35. The fold of a cube, Sifostratoudaki Vasiliki, Rotterdam, 2015 36. Robertson, L. Quoted from a skype conversation, 10 thFebruary 2015 37. A line is drawn with a pencil on a wall, is one of my oldest and unrealised works. The combination of the wall that the line would be written on and the density of the line, in its absolute simplicity can’t be found in form, Sifostratoudaki Vasiliki, future 38. “What transgresses the boundaries of all imagination, of all possible thought, is simply that alphabetical series (a, b, c, d) which links each of those categories to all the others.”, Foucault, Michel, p.14 39. (Wittgenstein p.24) 40. Vasiliki Sifostratoudaki, The island which is folded as dry bread, Rotterdam, 2015 41. Paraphresing the metaphor from Wittgen-

stein’s about the rabit on the sofa.

42. Polikatoikies are block of flats builted during the 50–60s.

43. Eliasson, The shape of an idea, https://www. youtube.com/watch?v=M1XZ17DCJng, 2014 44. Walls of brick.The method of making bricks.

There are three different kinds of bricks; the Lydian, which is in use with us, a foot-and-ahalf in length by a foot in breadth; the tetradoron; and the pentadoron; the word “doron” being used by the ancient Greeks to signify the palm—hence, too, their word “doron” meaning a gift, because it is the hand that gives., (Pliny the Elder, chapter.49) 45. The inventors of the art of modelling. On painting we have now said enough, and more than enough; but it will be only proper to append some accounts of the plastic art. Butades, a potter of Sicyon, was the first who invented, at Corinth, the art of modelling portraits in the earth which he used in his trade. It was through his daughter that he made the discovery; who, being deeply in love with a young man about to depart on a long journey, traced the profile of his face, as thrown upon the wall by the light of the lamp. Upon seeing this, her father filled in the outline, by compressing clay upon the surface, and so made a face in relief, which he then hardened by fire along with other articles of pottery.

Butades first invented the method of colouring plastic compositions, by adding red earth to the material, or else modelling them in red chalk: he, too, was the first to make masks on the outer edges of gutter-tiles upon the roofs of buildings; in low relief, and known as “prostypa” at first, but afterwards in high relief, or “ectypa.” It was in these designs, too, that the ornaments on the pediments of temples originated; and from this invention modellers first had their name of “plastæ.”, Pliny the Elder, chapter. 49 46. Local myth, Πούλια και Αυγερινός, quotation (Blogthea, 2008)

47. In the Untitled project the materials take over the title of the works. Providing information about element of constructing them and at the same time making up a list for the viewer of the matter used for the project.

Sifostratoudaki, 2012 48. Sifostratoudaki, http://vasilikisifostratoudaki.gr/Xrysi-klosti, 2011 49. The word shadow has a female gender is Greek, η σκιά

Printed by PUBLICATION STUDIO ROTTERDAM Designed by Vasiliki Sifostratoudaki

Η ολοκλήρωση της διπλωματικής εργασίας συνχρηματοδοτήθηκε μέσω του Έργου “Υποτροφίες ΙΚΥ” από πόρους του ΕΠ “Εκπαίδευση και Δια Βίου Μάθηση”, του Ευρωπαικού Κοινωνικού Ταμείου (ΕΚΤ) του ΕΣΠΑ, 2007 - 2013”