He is an art historian, archaeologist and curator. Born in 1982, he graduated with honors from the department of History and Archaeology of the Aristotle University of Thessaloniki. He continued his studies at the graduate level, with a scholarship from the Panayotis and Effie Michelis Foundation, in the World of Art and Museology department of the University of East Anglia. He collaborates since 2003 with state and private institutions realted to visual arts, he also teaches and gives lectures at the Third Painting Workshop of the School of Fine Arts in Athens and the American College of Thessaloniki.  

The main objective of this thesis is the determination of installation as a notion and genre. The study of the specific subject of installation art in Greece, identified the decisive moment of the very beginning as a hybrid at the exhibition of Kessanlis, Caniaris and Daniel "Trois propositions pour une nouvelle sculpture Grecque" (Three propositions for a new Greek Sculpture), in 1964 in Venice.
Thence, the whole approach of the research tried to trace the relations between installation art and sculpture and a thorough analysis of the work of Diohandi has been decided, considering the case as a sufficient condition for the formation of the idea and understanding of installation art in Greece.
Through the bibliographical and the field research we came across all those features that characterises Diohandi’s installations that she created from the early 70's to the display at the Venice Biennale in 2011. This established an extended archive which is a complete example of the changes and the evolution of installation art in Greece, as defined in modern terms concerning not only theory but also practice.
It is a fact that the original idea ofthe correlation between installation art and other forms of visual arts revealed the distant and closer affinities. I presume that sculpture is the "next of kin" of installation art as a visual arts hybrid, since sculpture is the art par excellence, where the work is located finding itself based on a pedestal, even if it is the entire earth. Important conclusions are drawn through the bibliographical research of finding the origins and the starting points, and the observation of the two species, on the relations of the work of art not only with space but also with time.
The Roman author Tarrentius Varro, first describes the condition of the intermediate space, creating reasonably the transition from prominent works which function with the management of time and space to the works that transform the viewer to a panoptic being, with the use of vision as a hyper-sense combined this time with memory and perception. The approach through notions or signs that refer to space and time, as in "here" and "now", is designed to reveal the most tangible affinities between sculpture and installation art.
The work of the artist Diohandi consolidates a strong argument in progress, concerning time and space relations through the prism of installation art.
 

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