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Andreas Angelidakis / Angelo Plessas
Protocinema at Swiss Insitute | USA (+)
Andreas Angelidakis
Biennale de l'Image en Mouvement 2018 | SUI (+)
Sofia Stevi
Second Bedroom Gallery | USA (+)
Navine G. Khan-Dossos
Talbot Rice Gallery | UK (+)
Theo Triantafyllidis
6th Athens Biennial | GR (+)

Andreas Angelidakis tries to make sense of where we are and how we got here. His work emerges from the experience of being in place: in Greece, in climate change, in architecture, in psychoanalysis, in the internet, in a body. Angelidakis, who was born in Athens in 1968, addresses the question of site specificity at a time when to be in one place is to be already in several others[1]. Andreas Angelidakis with his practice investigates the passing of time. Whether it’s history or archaeology, or even an imagined future, his work blurs the boundaries between memory and hallucination, between fiction and reality. Trained as an architect, his practice has evolved to include that of artist, exhibition maker and curator. He uses exhibitions as a medium in itself, a lens through which to re-examine the work and the world around it.

In his videos, which often talk about the histories of buildings, time often switches from a critical view on the past to a fictional future, with the viewer invited along as Angelidakis combines personal memories with historical fact and architectural fantasy. The passing of time transforms into an eternal present, ruins get resurrected as actors in a city, and online communities turn into our Ancient Rome. Angelidakis’ flattening of time is often informed by the way we perceive the world through the internet. He has been experimenting with 3D printing since the first days of rapid prototyping, initially to archive buildings he designed inside online communities such as Active Worlds. These first off-white maquettes, exhibited as early as 2002, were often labeled ‘ghosts’, real world representation of objects that existed only online. His recent work with 3D printing involves turning everyday objects into buildings, by adding elements that suggest scale or use, such as a staircase, a door, a column. A glazed ceramic flower shaped flowerpot becomes a house, commenting on the nature of the collectible bibelot as a vehicle for emotions and memories. Ancient Greek columns downloaded from online object libraries are 3D printed into ruins wrapped with Greek folklore rugs, echoing his installation for the 8th Berlin Biennial Crash Pad, a historical re- examination of the political history of Modern Greece.

Andreas Angelidakis was recently included with major installations at Documenta 14 in Athens and Kassel (2017) curated by Adam Szymczyk. He also presented ambitious installations for the public program of Documenta 14 in both cities (Demos in Athens and Polemos in Fridericianum in Kassel).

Works by Andreas Angelidakis are included in the collections The Art Institute of Chicago, the National Museum of Contemporary Art Athens, the Nouveau Musee National de Monaco, at Schloß Freudenberg in Wiesbaden, Staatliche Kunstsammlungen Dresden, the Zabludowicz Collection in London and the Dakis Joannou Collection, Athens.



[1] Nicholas Korody, Documenta 14, artistbook.