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                  <text>Kostis Velonis</text>
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                  <text>&lt;p style="font-weight: 400;"&gt;Kostis Velonis holds a PhD in Architecture from the National Technical University of Athens (N.T.U.A.), awarded in 2009. He also studied Cultural Studies at the London Consortium (AA, Birkbeck College, ICA) and Visual Arts at the University of Paris VIII, completing a Maîtrise and D.E.A.&lt;br /&gt;His recent solo exhibitions include&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="326" data-end="355"&gt;This Probably Will Not Work&lt;/em&gt;, Lothringer 13 – Städtische Kunsthalle München, Munich, 2015;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="418" data-end="433"&gt;Mount the Air&lt;/em&gt;, Kalfayan Galleries, Athens, 2015;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="469" data-end="495"&gt;The Grammary of Puppetry&lt;/em&gt;, Monitor Gallery, Rome, 2012; and&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="530" data-end="556"&gt;The Promise of Happiness&lt;/em&gt;, Signal Center for Contemporary Art, Malmö, Sweden, 2011.&lt;br /&gt;Selected group exhibitions include&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="651" data-end="719"&gt;Adventures of the Black Square: Abstract Art and Society 1915–2015&lt;/em&gt;, Whitechapel Gallery, London, 2015;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="756" data-end="774"&gt;Supersuperstudio&lt;/em&gt;, Padiglione d’Arte Contemporanea, Milan;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="816" data-end="845"&gt;In the Name of Le Corbusier&lt;/em&gt;, Spiteris Residence, School of Architecture, N.T.U.A., Athens, 2015;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="915" data-end="941"&gt;The Theater of the World&lt;/em&gt;, Museo Tamayo, Mexico City, 2015;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="976" data-end="1008"&gt;This Is Not My Beautiful House&lt;/em&gt;, Kunsthalle Athena, Athens, 2014;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="1043" data-end="1069"&gt;No Country for Young Men&lt;/em&gt;, BOZAR, Brussels, 2014;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="1094" data-end="1116"&gt;Tout Feu Tout Flamme&lt;/em&gt;, Lefebvre &amp;amp; Fils, Paris, 2014;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="1148" data-end="1166"&gt;Direct Democracy&lt;/em&gt;, MUMA / Monash University Museum of Art, Melbourne, 2013;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="1225" data-end="1245"&gt;Hell as a Pavilion&lt;/em&gt;, Palais de Tokyo, Paris, 2013;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="1277" data-end="1314"&gt;Newtopia. The State of Human Rights&lt;/em&gt;, Mechelen Cultural Centre, The Academy of Fine Arts, and Scheppers Institute, Mechelen, Belgium, 2012; and&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em data-start="1422" data-end="1444"&gt;Material and Culture&lt;/em&gt;, MAK Center for Art and Architecture – Schindler, California.&lt;/p&gt;</text>
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                <text>Monument for a Forgotten Education (based on Goeritz's and Barragan's “Torres de Satélite”,1958)</text>
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                <text>&lt;p style="font-weight: 400;"&gt;&lt;em&gt;Monument for a Forgotten Education&lt;/em&gt;&lt;span&gt;&amp;nbsp;is an architectural model based on&amp;nbsp;&lt;em data-start="234" data-end="254" data-is-only-node=""&gt;Torres de Satélite&lt;/em&gt;, the monumental public sculpture designed by Mathias Goeritz and Luis Barragán in Mexico City. In Velonis’ reinterpretation, the reinforced-concrete walls of the original monument are replaced by wooden structures coated with blackboard paint, transforming the work into a reflection on education, memory, and the rewriting of modernity. The intervention combines a change of material with a different scale, restoring the aesthetic values of the public monument while simultaneously altering its meaning. The project belongs to the series&amp;nbsp;&lt;em data-start="796" data-end="810"&gt;Part Company&lt;/em&gt;, which brings together two apparently opposing approaches to community life through the figures of Greek-Mexican activist Plotino Rhodakanaty and German-born Mexican artist Mathias Goeritz. By working on models of Goeritz’s public sculptures in relation to Rhodakanaty’s political ideas, Velonis explores the intersections between social class, sculpture, architecture, and design. The resulting constructions question the relationship between collective memory and historical amnesia, suggesting how modernist forms can become sites for reconsidering political and educational narratives.&lt;br /&gt;&lt;/span&gt;&lt;a href="http://moremuseum.org/omeka/files/original/29c8f23783fe06ed34bb71c2df79d6dd.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Scipioni, Lydia Elena</text>
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                <text>&lt;a href="http://dspace-unipr.cineca.it/handle/1889/3002" target="_blank" rel="noopener"&gt;http://dspace-unipr.cineca.it/handle/1889/3002&lt;/a&gt;</text>
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