{"id":544,"name":"","email":"ensembles@muhka.be","language_id":1,"permalink":"marina-abramovic-ulay","deleted":false,"legal_status_id":47,"url_1":"http://www.skny.com/artists/marina-abramovi/","twitter":null,"category_id":47,"date_of_birth":null,"place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"","publishing_process_id":1,"can_log_in":false,"firstname":"Marina ","lastname":"Abramović \u0026 Ulay","annotation":"","url_2":"","url_3":"","cached_name":"Marina  Abramović \u0026 Ulay","date_of_death":null,"cached_name_asc":"Abramović \u0026 Ulay, Marina ","stream_count_app":70,"gender":"other","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/024/large/Abramovic__0001_Marina__Ulay__Anima_Mundi_%28Bankok%29__1993.jpg?1369745508","poster_credits":"(c)image: M HKA","media_count":1,"items_count":3,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eMarina Abramović \u003c/strong\u003e\u003cstrong\u003e(\u0026deg;1946, Belgrade, Serbia)\u003c/strong\u003e\u003cstrong\u003e and Ulay\u003c/strong\u003e [Uwe Laysiepen\u0026rsquo;s pseudonym] (\u0026deg;1943, Solingen, Germany - \u0026dagger;2020, Ljubljana, Slovenia) met each other in 1975. Up until 1989 they lived and worked together, testing their own and each other\u0026rsquo;s physical and mental endurance in a variety of performances. Prior to their meeting, each had already experimented with this medium. Marina\u0026rsquo;s earliest performances had aspects of violence at their core. In 1974, for instance, she invited the public to use, or not use, a range of torture (and pleasure) instruments on her body (\u003ca href=\"http://ensembles.mhka.be/items/1\"\u003e\u003cem\u003eRhythm 0\u003c/em\u003e\u003c/a\u003e, 1974). Ulay\u0026rsquo;s early work, as well, comprises performances and polaroids where questions of identity and alienation are central themes.\u003c/p\u003e\r\n\r\n\u003cp\u003eTheir artistic collaboration takes the form of a range of performances where, initially, they investigated the possibilities of their artistic and amorous relationship. All these performances fall under the heading \u003cem\u003eRelation Works\u003c/em\u003e\u0026nbsp;(1976-1981). In 1977, for example, they sat for 17 straight hours back-to-back, their hair tied together (\u003cem\u003eRelation in time\u003c/em\u003e, 1977). The public\u0026rsquo;s presence during this sort of performance is deemed essential by both artists to provide them with the necessary strength.\u003c/p\u003e\r\n\r\n\u003cp\u003eStarting in the 1980s, their interest shifts from the personal relationship to the specificity of cultural interactions. Together they travel the world, looking into the different cultures they encounter. This results in a second series of performances, where more universal themes are broached. Symbolism makes an entry into their work. Their last joint project, \u003cem\u003eThe Lovers\u003c/em\u003e\u0026nbsp;(1988), is a combination of relational and intercultural investigation. They spent three months walking towards each other (Ulay starting in the Gobi Desert and Abramović at the Yellow Sea), finally meeting at the middle of the Great Wall of China, where they embrace and then separate for good. Since then, they have pursued their own individual paths.\u003c/p\u003e\r\n\r\n\u003cp\u003eAfter this break, Abramović next focuses on sculptures in strange materials, upon which the members of the public can lie down on, sit or stand, and this contact induces a boost of energy. Ulay has\u0026nbsp; been making photographic series, including portraits of Afro-American homeless people in New York and contemporary vanitas still lifes with everyday objects.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eIn 1975 ontmoeten \u003cstrong\u003eMarina Abramović \u003c/strong\u003e\u003cstrong\u003e(\u0026deg;1946, Belgrado, Servi\u0026euml;)\u003c/strong\u003e\u003cstrong\u003e en Ulay\u003c/strong\u003e [pseudoniem voor Uwe Laysiepen] (\u0026deg;1943, Solingen, Duitsland - \u0026dagger;2020, Ljubljana, Sloveni\u0026euml;) elkaar. Tot 1989 wonen en werken ze samen en testen ze hun eigen en elkanders fysieke en mentale uithoudingsvermogens in performances. V\u0026oacute;\u0026oacute;r hun ontmoeting experimenteerden ze ieder apart al met dit medium. De allereerste performances van Marina kaderden reeds binnen een gewelddadige tendens. In 1974 laat ze zich bijvoorbeeld door een publiek mishandelen met allerlei marteltuigen (\u003ca href=\"http://ensembles.mhka.be/items/1\"\u003e\u003cem\u003eRhythm 0\u003c/em\u003e\u003c/a\u003e, 1974]. Ook Ulays vroege werk bestaat uit performances en polaroidfoto\u0026rsquo;s waarbij identiteit en vervreemding centraal staan.\u003c/p\u003e\r\n\r\n\u003cp\u003eHun artistieke samenwerking krijgt vorm in uiteenlopende performances waarin ze aanvankelijk de mogelijkheden van hun artistieke en amoureuze relatie onderzoeken. Al deze performances vallen onder de noemer \u003cem\u003eRelation Works\u003c/em\u003e\u0026nbsp;(1976-1981). In 1977 zitten ze bijvoorbeeld zeventien uur lang met de rug naar elkaar gekeerd en de haren aan elkaar gebonden (\u003cem\u003eRelation in time\u003c/em\u003e, 1977). De aanwezigheid van het publiek tijdens zo\u0026rsquo;n performance is voor beide kunstenaars essentieel en geeft hen kracht.\u003c/p\u003e\r\n\r\n\u003cp\u003eVanaf de jaren tachtig verschuift hun interesse van de persoonlijke relatie naar de eigenheid van culturele interacties. Samen reizen ze de wereld rond en onderzoeken verschillende culturen. Dit resulteert in een tweede reeks performances, waarin meer universele thema\u0026rsquo;s behandeld worden. Symboliek doet haar intrede in hun werk. Hun laatste gezamenlijke project \u003cem\u003eThe Lovers\u003c/em\u003e\u0026nbsp;(1988) is een combinatie van het relationele en interculturele onderzoek. Gedurende drie maanden maken ze een voettocht over de Chinese muur, waarbij ze elk aan \u0026eacute;\u0026eacute;n kant vertrekken en naar elkaar toestappen. Bij hun ontmoeting in het midden nemen ze voorgoed afscheid van elkaar. Sindsdien gaan ze hun eigen weg en maken ze elk individueel werk.\u003c/p\u003e\r\n\r\n\u003cp\u003eNa deze breuk legt Abramović zich toe op sculpturen in vreemde materialen waarop het publiek kan gaan liggen, zitten of staan. De toeschouwer die ermee in contact komt, wordt opgeladen met energie. Ulay maak de laatste jaren series foto\u0026rsquo;s, onder andere portretten van Afro-Amerikaanse daklozen in New York en hedendaagse vanitas-stillevens met alledaagse voorwerpen.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eEn 1975, \u003cstrong\u003eMarina Abramović \u003c/strong\u003e\u003cstrong\u003e(\u0026deg;1946, Belgrade, Serbie)\u003c/strong\u003e\u003cstrong\u003e et Ulay\u003c/strong\u003e [pseudonime d\u0026#39;Uwe Laysiepen] (\u0026deg;1943, Solingen, Allemagne - \u0026dagger; 2020, Ljubljana, Slov\u0026eacute;nie) se rencontrent. Jusqu\u0026#39;en 1989, ils vivent et travaillent ensemble et testent leur endurance physique et mentale mutuelle dans des performances. Avant leur rencontre, ils exp\u0026eacute;rimentaient d\u0026eacute;j\u0026agrave; chacun de son c\u0026ocirc;t\u0026eacute; par ce moyen. Les toutes premi\u0026egrave;res performances de Marina entraient d\u0026eacute;j\u0026agrave; dans le cadre d\u0026#39;une tendance violente. En 1974, par exemple, elle se fait malmener par un public arm\u0026eacute; de toutes sortes d\u0026#39;instruments de torture (\u003ca href=\"http://ensembles.mhka.be/items/1\"\u003e\u003cem\u003eRhythm 0\u003c/em\u003e\u003c/a\u003e, 1974]. Les premi\u0026egrave;res \u0026oelig;uvres d\u0026#39;Ulays se composent \u0026eacute;galement de performances et de polaro\u0026iuml;ds o\u0026ugrave; l\u0026#39;identit\u0026eacute; et l\u0026#39;ali\u0026eacute;nation occupent une position centrale.\u003c/p\u003e\r\n\r\n\u003cp\u003eLeur collaboration artistique prend forme dans diverses performances o\u0026ugrave; ils \u0026eacute;tudient au d\u0026eacute;part les possibilit\u0026eacute;s de leur relation artistique et amoureuse. Toutes ces performances portent le nom de \u003cem\u003eRelation Works\u003c/em\u003e\u0026nbsp;(1976-1981). En 1977, par exemple, ils restent assis pendant dix-sept heures dos \u0026agrave; dos et les cheveux attach\u0026eacute;s l\u0026#39;un \u0026agrave; l\u0026#39;autre (\u003cem\u003eRelation in time\u003c/em\u003e, 1977). La pr\u0026eacute;sence du public pendant une telle performance est essentielle pour les deux artistes et leur donne de la force.\u003c/p\u003e\r\n\r\n\u003cp\u003eA partir des ann\u0026eacute;es quatre-vingts, leur int\u0026eacute;r\u0026ecirc;t se d\u0026eacute;place de la relation personnelle \u0026agrave; la particularit\u0026eacute; des interactions culturelles. Ensemble, ils voyagent \u0026agrave; travers le monde et \u0026eacute;tudient diff\u0026eacute;rentes cultures. Il en r\u0026eacute;sulte une deuxi\u0026egrave;me s\u0026eacute;rie de performances dans lesquelles ils traitent de th\u0026egrave;mes plus universels. La symbolique fait son entr\u0026eacute;e dans leur \u0026oelig;uvre. Leur dernier projet commun, \u003cem\u003eThe Lovers\u003c/em\u003e\u0026nbsp;(1988), est une combinaison de l\u0026#39;\u0026eacute;tude relationnelle et interculturelle. Pendant trois mois, ils parcourent \u0026agrave; pied la muraille de Chine, partant chacun d\u0026#39;un c\u0026ocirc;t\u0026eacute; pour se rejoindre. Lors de leur rencontre au centre, ils se s\u0026eacute;parent pour de bon. Depuis lors, ils tracent leur propre route et r\u0026eacute;alisent des \u0026oelig;uvres individuelles.\u003c/p\u003e\r\n\r\n\u003cp\u003eApr\u0026egrave;s cette rupture, Abramović se concentre sur des sculptures dans des mat\u0026eacute;riaux \u0026eacute;tranges sur lesquelles le public peut s\u0026#39;allonger, s\u0026#39;asseoir ou se tenir debout. Le spectateur qui entre en contact avec ces \u0026oelig;uvres est charg\u0026eacute; d\u0026#39;\u0026eacute;nergie. Ulay prend des s\u0026eacute;ries de photos ces derni\u0026egrave;res ann\u0026eacute;es, entre autres des portraits de sans-abri afro-am\u0026eacute;ricains \u0026agrave; New York et des vanit\u0026eacute;s-natures mortes avec des objets du quotidien.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1975 begegnen sich \u003cstrong\u003eMarina Abramović \u003c/strong\u003e(\u0026deg;1946, Belgrad, Serbien)\u0026nbsp;und\u003cstrong\u003e Ulay\u003c/strong\u003e [Pseudonym f\u0026uuml;r Uwe Laysiepen] (\u0026deg;1943, Solingen, Deutschland - \u0026dagger; 2020, Ljubljana, Slowenien). Bis 1989 wohnen und arbeiten sie zusammen und testen sie ihre eigene sowie die physische und mentale Ausdauer des anderen in Performances. Vor ihrer Begegnung experimentierten sie jeweils getrennt mit diesem Medium. Die allerersten Performances von Marina waren von einer gewaltt\u0026auml;tigen Tendenz gepr\u0026auml;gt. In 1974 l\u0026auml;sst sie sich beispielsweise vom Publikum mit verschiedenen Folterwerkzeugen misshandeln (\u003ca href=\"http://ensembles.mhka.be/items/1\"\u003e\u003cem\u003eRhythm 0\u003c/em\u003e\u003c/a\u003e, 1974]. Auch Ulays fr\u0026uuml;heres Werk besteht aus Performances und Polaroid-Fotos, wobei Identit\u0026auml;t und Verfremdung im Mittelpunkt stehen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIhre k\u0026uuml;nstlerische Zusammenarbeit gestaltet sich in verschiedenen Performances, in denen sie zun\u0026auml;chst die M\u0026ouml;glichkeiten ihrer k\u0026uuml;nstlerischen und amour\u0026ouml;sen Beziehung untersuchen. Alle diese Performances fallen unter den Nenner \u003cem\u003eRelation Works\u003c/em\u003e\u0026nbsp;(1976-1981). In 1977 sitzen sie beispielsweise siebzehn Stunden lang mit den R\u0026uuml;cken gegeneinander gekehrt und mit den Haaren zusammengebunden (\u003cem\u003eRelation in time\u003c/em\u003e, 1977).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDie Anwesenheit des Publikums w\u0026auml;hrend einer solchen Performance ist f\u0026uuml;r beide K\u0026uuml;nstler wichtig und verleiht ihnen Kraft. Ab den achtziger Jahren wendet sich ihr Interesse von der pers\u0026ouml;nlichen Beziehung hin zur Eigenheit kultureller Interaktionen. Zusammen reisen sie um die Welt und untersuchen verschiedene Kulturen. Dies resultiert in einer zweiten Reihe von Performances, in denen mehr universelle Themen behandelt werden. Symbolik wird in ihrem Werk eingef\u0026uuml;hrt. Ihr letztes gemeinsames Projekt \u003cem\u003eThe Lovers\u003c/em\u003e\u0026nbsp;(1988) ist eine Kombination aus der relationalen und interkulturellen Untersuchung. Drei Monate lang machen sie eine Wanderung auf der Chinesischen Mauer, wobei sie jeweils auf der anderen Seite starten und aufeinander zugehen. Bei ihrer Begegnung in der Mitte nehmen sie f\u0026uuml;r immer Abschied voneinander. Seitdem gehen sie ihren eigenen Weg und machen jeweils individuelle Werke.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eNach diesem Bruch widmet sich Abramović Skulpturen aus fremden Materialien, auf die das Publikum liegen, sitzen oder stehen kann. Der Zuschauer, der damit in Kontakt kommt, wird mit Energie aufgeladen. Ulay macht in den letzten Jahren Fotoserien, darunter Portr\u0026auml;ts von afroamerikanischen Obdachlosen in New York und zeitgen\u0026ouml;ssische Vanitas-Stillleben mit Alltagsgegenst\u0026auml;nden.\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026Eta; \u003cstrong\u003e\u0026Mu;\u0026alpha;\u0026rho;ί\u0026nu;\u0026alpha; \u0026Alpha;\u0026mu;\u0026pi;\u0026rho;ά\u0026mu;\u0026omicron;\u0026beta;\u0026iota;\u0026tau;\u0026sigmaf;\u003c/strong\u003e \u0026gamma;\u0026epsilon;\u0026nu;\u0026nu;ή\u0026theta;\u0026eta;\u0026kappa;\u0026epsilon; \u0026sigma;\u0026tau;\u0026omicron; \u0026Beta;\u0026epsilon;\u0026lambda;\u0026iota;\u0026gamma;\u0026rho;ά\u0026delta;\u0026iota; \u0026tau;\u0026omicron; 1946. \u0026Omicron; \u003cstrong\u003e\u0026Omicron;\u0026upsilon;\u0026lambda;ά\u0026iota;\u003c/strong\u003e (\u0026Phi;\u0026rho;\u0026alpha;\u0026nu;\u0026kappa; \u0026Omicron;ύ\u0026beta;\u0026epsilon; \u0026Lambda;ά\u0026iota;\u0026zeta;\u0026iota;\u0026pi;\u0026epsilon;\u0026nu;) \u0026gamma;\u0026epsilon;\u0026nu;\u0026nu;ή\u0026theta;\u0026eta;\u0026kappa;\u0026epsilon; \u0026sigma;\u0026tau;\u0026omicron; \u0026Zeta;ό\u0026lambda;\u0026iota;\u0026nu;\u0026gamma;\u0026kappa;\u0026epsilon;\u0026nu; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Gamma;\u0026epsilon;\u0026rho;\u0026mu;\u0026alpha;\u0026nu;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron; 1943. \u0026Pi;\u0026rho;ό\u0026kappa;\u0026epsilon;\u0026iota;\u0026tau;\u0026alpha;\u0026iota; \u0026gamma;\u0026iota;\u0026alpha; \u0026delta;ύ\u0026omicron; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ\u0026sigmaf; \u0026epsilon;\u0026kappa;\u0026pi;\u0026rho;\u0026omicron;\u0026sigma;ώ\u0026pi;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf;. \u0026Pi;\u0026rho;\u0026iota;\u0026nu; \u0026sigma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026nu;\u0026tau;\u0026eta;\u0026theta;\u0026omicron;ύ\u0026nu;, \u0026pi;\u0026epsilon;\u0026iota;\u0026rho;\u0026alpha;\u0026mu;\u0026alpha;\u0026tau;ί\u0026zeta;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026nu; \u0026mu;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026tau;\u0026omicron; \u0026mu;έ\u0026sigma;\u0026omicron; \u0026kappa;\u0026alpha;\u0026theta;έ\u0026nu;\u0026alpha;\u0026sigmaf; \u0026xi;\u0026epsilon;\u0026chi;\u0026omega;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;ά. \u0026Omicron;\u0026iota; \u0026pi;\u0026rho;ώ\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Mu;\u0026alpha;\u0026rho;ί\u0026nu;\u0026alpha;\u0026sigmaf; \u0026epsilon;ί\u0026chi;\u0026alpha;\u0026nu; ή\u0026delta;\u0026eta; \u0026mu;\u0026iota;\u0026alpha; \u0026tau;ά\u0026sigma;\u0026eta; \u0026pi;\u0026rho;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026eta; \u0026beta;ί\u0026alpha;. \u0026Tau;\u0026omicron; 1974, \u0026eta; \u0026Mu;\u0026alpha;\u0026rho;ί\u0026nu;\u0026alpha; \u0026Alpha;\u0026mu;\u0026pi;\u0026rho;ά\u0026mu;\u0026omicron;\u0026beta;\u0026iota;\u0026tau;\u0026sigmaf; \u0026alpha;\u0026phi;έ\u0026theta;\u0026eta;\u0026kappa;\u0026epsilon; \u0026nu;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026alpha;\u0026kappa;\u0026omicron;\u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026chi;\u0026epsilon;\u0026iota;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026epsilon;ί \u0026tau;\u0026omicron; \u0026kappa;\u0026omicron;\u0026iota;\u0026nu;ό \u0026mu;\u0026epsilon; \u0026kappa;ά\u0026theta;\u0026epsilon; \u0026epsilon;ί\u0026delta;\u0026omicron;\u0026upsilon;\u0026sigmaf; ό\u0026rho;\u0026gamma;\u0026alpha;\u0026nu;\u0026omicron; \u0026beta;\u0026alpha;\u0026sigma;\u0026alpha;\u0026nu;\u0026iota;\u0026sigma;\u0026tau;\u0026eta;\u0026rho;ί\u0026omega;\u0026nu; (\u003cem\u003eRhythm O\u003c/em\u003e, 1974). \u0026Tau;\u0026omicron; \u0026pi;\u0026rho;ώ\u0026iota;\u0026mu;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Omicron;\u0026upsilon;\u0026lambda;ά\u0026iota; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ί\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026lambda;\u0026alpha;\u0026rho;ό\u0026iota;\u0026nu;\u0026tau; ό\u0026pi;\u0026omicron;\u0026upsilon; \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026kappa;ά \u0026theta;έ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026omicron;ύ\u0026nu; \u0026eta; \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026alpha;\u0026lambda;\u0026lambda;\u0026omicron;\u0026tau;\u0026rho;ί\u0026omega;\u0026sigma;\u0026eta;. \u0026Omicron;\u0026iota; \u0026delta;ύ\u0026omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026nu;\u0026tau;ή\u0026theta;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; \u0026sigma;\u0026tau;\u0026omicron; Ά\u0026mu;\u0026sigma;\u0026tau;\u0026epsilon;\u0026rho;\u0026nu;\u0026tau;\u0026alpha;\u0026mu; \u0026tau;\u0026omicron; 1975 \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026nu;\u0026epsilon;\u0026rho;\u0026gamma;ά\u0026sigma;\u0026tau;\u0026eta;\u0026kappa;\u0026alpha;\u0026nu; έ\u0026omega;\u0026sigmaf; \u0026tau;\u0026omicron; 1988. \u0026Omicron;\u0026iota; έ\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026delta;\u0026iota;\u0026epsilon;\u0026rho;\u0026epsilon;ύ\u0026nu;\u0026eta;\u0026sigma;\u0026alpha;\u0026nu; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota;, \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ ά\u0026lambda;\u0026lambda;\u0026omega;\u0026nu;, \u0026omicron; \u0026epsilon;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026sigmaf;, \u0026eta; \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;, \u0026eta; \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026sigma;\u0026tau;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;\u0026omicron;ύ \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026kappa;\u0026omicron;\u0026iota;\u0026nu;\u0026omicron;ύ, \u0026tau;\u0026alpha; ό\u0026rho;\u0026iota;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026sigma;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026omicron;\u0026iota; \u0026delta;\u0026upsilon;\u0026nu;\u0026alpha;\u0026tau;ό\u0026tau;\u0026eta;\u0026tau;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026nu;\u0026omicron;\u0026upsilon;. 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