Andreas Angelidakis casually asks, “Would you mind if I smoke while we chat?” as we settle onto a bean bag designed to resemble a toppled classical column. He then pulls out a delicately rolled spliff wrapped in pink paper from his black Nike jacket and lights it. “It’s my anxiety medication,” he admits, then adds with a chuckle, “Actually, I’m just addicted.”
The artist has a unique perspective on the world, which is evident upon entering the Escape Room, his installation at the Greek pavilion of this year’s Venice Biennale. This pavilion, established in 1934 and designed by M Papandreou during a politically charged era marked by Hitler’s meeting with Mussolini, now features a vibrant dancefloor illuminated with lights, while Frankie Goes to Hollywood’s “Relax” fills the air. Above, wilted classical columns dangle from the ceiling or are arranged as seating throughout the space.
The columns serve multiple references: they allude to Picasso’s “Guernica,” a powerful condemnation of the 1937 bombing of the Spanish city by Nazi and fascist forces; they symbolize the ongoing migration crisis, which Angelidakis likens to a modern-day “Guernica”; and they reflect his own sexuality, nodding to the soft furnishings known as pouffes. His affinity for cannabis is also woven into the pavilion’s narrative, as the official opening took place at 4:20 PM, a playful nod perhaps overlooked by the officials present. Following the ceremony, an afternoon rave, or “tea dance,” featured the DJs from Power Dance Club, currently one of Berlin’s most popular queer venues.
Nearby the dancefloor, an LED screen displays mirror-like images of visitors, a concept Angelidakis connects to Plato’s allegory of the cave, which discusses the difference between perceived reality and actual reality. Additional features include a souvenir shop stocked with oversized books and T-shirts, some honoring LGBTQ+ activist Zak Kostopoulos, who tragically died in a violent incident in Athens in 2018. There are also riot shields protecting two neon eggs, symbolizing “the fascism that emerged in 1934,” along with inflatables decorated with variations of the Maga slogan, including one that says “Make Erika Eat Again,” referencing Charlie Kirk’s widow. “She’s quite a character,” Angelidakis remarks. “They expect her to be grieving, but she shows up dressed like Janet Jackson in ‘Rhythm Nation’ with a black cap, almost mimicking the Elon Musk salute.”
The artist’s eclectic and intricate references draw from various sources, including TikTok trends and ancient history, all shedding light on contemporary issues as far-right movements strive for dominance worldwide. At the suggestion of curator George Bekirakis, the pavilion also features a section dedicated to Vaso Katraki, the only Greek artist to receive an award for visual arts at Venice, recognized for her etchings in 1966, only to be imprisoned for her communist beliefs the following year.
Angelidakis aims to give the pavilion its own voice. “If the building could express itself, this is what it would convey,” he shares. He notes the historical weight of the pavilion, which opened at a time when Greece and Austria were exploring alliances with fascist powers, while its Byzantine-style architecture reflects the preferences of the Greek government of that era.
“We should consider restoring Istanbul to Constantinople,” Angelidakis suggests, evoking a past before the Ottoman Empire’s influence. “This sentiment has persisted for centuries, despite the fact that Byzantium was originally part of the Roman Empire, which we were subjugated by. I’m addressing aspects of Greek historical delusion in a sense.” Taking a puff from his joint, he continues, “I’m opposed to national pavilions, which is why I’m transforming this space into an escape room.”
He elaborates on the concept of escape rooms, originally immersive online games that began in the early 2000s before being adapted into physical spaces in Japan in 2007. “It’s reminiscent of the January 6 event, where online actions spilled into the real world. That’s what intrigues me about escape rooms. Personally, I wouldn’t participate because I have enough reality on my mind—I don’t need more.”
When asked if experiencing an escape room while stoned would be daunting, he replies, “I’m not afraid of scary things.” He shows off a tattoo featuring two dice along with a pill bottle on his hand, stating, “Just roll the dice and see what unfolds. Or pop the cap and see what happens.”
At 58, Angelidakis humorously claims to be 60 because “it sounds more rebellious. Like, ‘Hey, I’m 60. I don’t care!’” Born in 1968 in Athens to a Greek father and Norwegian mother, he fondly recalls growing up with the British pop magazine “Smash Hits,” which fueled his admiration for 80s UK bands. “One summer, a Welsh girl teaching English to my cousins introduced me to Soft Cell,” he reminisces. “Before that, I was into Raffaella Carrà and Donna Summer, and the transition was remarkable. ‘Relax’ was a massive hit in Greece, where British tourists would come to party and dance, unaware that the song had themes relating to sex during the AIDS crisis.”
Though his mother envisioned him becoming a civil engineer like his father, he began studying architecture at a Polytechnic in Greece before dropping out. He became captivated by the works of architects like Zaha Hadid and Rem Koolhaas, feeling that his instructors focused on design without imparting the underlying reasons. Motivated partly by a romantic interest in California, he relocated to the Southern California Institute of Architecture (SCI-Arc) in 1989, where he immediately found his passion ignited.
