Andreas Angelidakis, Shell house

Every end as a beginning – Andreas Angelidakis 

Athens Conservatoire

“What we call the beginning is often the end
And to make an end is to make a beginning.
The end is where we start from.”

T. S. Eliot


These verses from the Four Quartets by T. S. Eliot offered in 2006 instead of another interpretative commentary a broad translational horizon to the Walking Building by Andreas Angelidakis, as well as to The Grand Promenade itself, the large scale international exhibition of the Museum held as a preopening event, in which it was projected during the night on the façade of Syngrou Avenue, allegorically signifying its beginning and/or its end.

The boundaries of the end and of the beginning for the New EMST were transported on numerous occasions over the years that succeeded. Today, the retrospective of this important creator, architect, artist, writer, blogger, curator, in which central position holds the notion or/and the presence of the derelict building and its remodelling/transformation/metamorphoses, proposes us to cross the intermediate realm of transition from one situation to another, to experience the unknown as well as the open condition of the ‘in-between’, this third space between what was and what is not yet.

In the extremely interesting and experimental work by Andreas Angelidakis, where the internet is used as a lab of inter-artistic crossings, mixtures and as a surpassing of the conventional architecture of building, the critical and poetic, in the initial meaning of the word, boundaries of our hybrid era are tested. Through the virtual experience, through play and fiction, the role of the architect changes. Identity gives its place to multiple aspects and representations of the self which intervene in different cultural fields.

The exhibition of Andreas Angelidakis, designed by the architect himself, is one of them. Visiting his works through the identity of the Other, the curator, he does not reveal the secrets of the creator. He builds new meanings and interpretative environments. To him, the curating act itself becomes a space to be inhabited. A new work.

Anna Kafetsi

Curated by Andreas Angelidakis in collaboration with Daphne Vitali


The solo exhibition of the artist and architect Andreas Angelidakis entitled Every End is a Beginning presents a series of architectural studies that pertain to concepts such as reuse, mutation, transformation and relocation, and features works exploring the transition from one state to another. In the work Domesticated Mountain, a pile of cardboard boxes from online purchases transforms into a dwelling; in Troll, a block of flats transmutes into a mountain; in Cloud House and Menir, a cloud and a rock take the form of houses; in Casino, an entertainment venue transforms into an economic experiment; while in Walking Building an old factory becomes a hybrid museum.

Moreover, Angelidakis’ work in its entirety pertains to a transition from the architecture of building to the architecture of the unbuilt, the immaterial, the virtual. He uses the internet as a studio of experimentation and the creation of new ideas, as well as a space from which he often draws his inspiration. Many of the buildings that he designs for internet sites are presented in the exhibition as models that have been created by the method of three-dimensional printing.

The idea and the aesthetics of ruins are dominant in his work. Many of his studies begin from a building in ruins, an abandoned structure that he uses as a shell for the development of his ideas. From the wreckage of Soft Ruin to the abandoned villa of Alexandros Iolas, and from the vacant rooms that featured in the exhibition System of Objects to the bankrupt Casino, he uses derelict buildings, structures and debris to engage with buildings that transform and evolve.

The theme of transition in this exhibition also comes up, on the one hand, in the relocation of the Museum from the building that hosted its activities in the last few years to the one that will become its permanent home and, on the other hand, in the transition that Greek society has been undergoing in recent years.

The very atmosphere of the exhibition denotes a museum in transition, semi-lit and with visible signs of neglect, as well as residues from its previous activity. After some time, the visitor encounters in the space a selection of works including installations, video projections, animations and models of buildings from all the periods of Aggelidakis’ work, which recount allegorical, poetic as well as surreal stories. As mentioned by Andreas Aggelidakis: “I imagine a visitor entering the museum on their own, perhaps even thinking it may be closed, and the door left open by accident. This way, they experience the museum as a ruin, and every sign inside of it has a story to tell.”

Daphne Vitali