Athens

Andreas Angelidakis, DEMOS Pink, 2018, foam, vinyl, twenty parts. Installation view. From the series “Demos,” 2016–.

Andreas Angelidakis, DEMOS Pink, 2018, foam, vinyl, twenty parts. Installation view. From the series “Demos,” 2016–.

Andreas Angelidakis

The Breeder

They say that you can understand a city’s economic status by examining its building activity. After a decade of crisis, dumpsters, with their characteristic yellow marks signifying construction, have recently begun to reappear on the streets of Athens. Has the city finally crawled, exhausted, to the other side?

Andreas Angelidakis, who trained as an architect even if he never practiced that profession, has always been a sensitive observer of the money-spinning and psychosocial layers of the city. In his recent exhibition “A Submissive Acknowledgment of Powerlessness,” Simple Tricks to Look Better in a Photo, 2019, set the show’s sarcastic tone, greeting visitors with a yellow screen that bore the work’s listicle-like title. Beside it was Report from Athens, 2017, a mixed-media light box featuring a collage of old newspaper advertisements and street flyers that chronicle the 1950s hope for

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