Andreas Angelidakis

Escape Room

★★☆☆☆

On until 22 November 2026

Is Greece ok? Their pavilions of late have been dingy and gloomy, casting the motherland itself as a dark den. Emerging from it is increasingly doubtful. Angelidakis’s Escape Room stages Plato’s cave for “the current political climate”, where the shadows are Hitler, and Trump holds the keys. Maybe Greek love is the salvation! (Or something.)

Angelidakis mixes nightclub, 4chan, HIV, and MAGA imagery, casting the visitor as the confounding video silhouette. Greece is half-dungeon, half beautiful ruin, all narcissistic psychosexual babble ignorant of its history. This lair might be fun to dance in to Make Plato’s Cave Great Again. But is that a civics lesson?


notes and notices are short and curt exhibition reviews. Read more:

Dominique Fung, (Up)Rooted, at Massimo de Carlo ★★☆☆☆

Dominique Fung

(Up)Rooted

★★☆☆☆

All this tries to be macabre and surreal like in Bosch or Miyazaki but is instead laughably twee.

Firelei Báez, A Midnight’s Dream at South London Gallery ★☆☆☆☆

Firelei Báez

A Midnight's Dream

★☆☆☆☆

Such kitsch might have been fine in a spinster auntie’s bedroom. In the gallery, it is a cruel trick.

Erick Meyenberg, Nos marchábamos, regresábamos siempre, the Mexican pavilion in Venice ★☆☆☆☆

Erick Meyenberg

Nos marchábamos, regresábamos siempre

★☆☆☆☆

Whatever the purpose of this confusion, it’s not to be found in the gallery.

Future Relics at Union Pacific ★★★★☆

Future Relics

★★★★☆

“Reskilling” has the same ring in art as “reindustrialisation” does in geopolitics.

TJ Wilcox, Hiding in Plain Sight at Sadie Coles HQ ★★☆☆☆

TJ Wilcox

Hiding in Plain Sight

★★☆☆☆

Vanity proceeds in circles.

Mike Kelley, Ghost and Sprit at Tate Modern ★★★☆☆

Mike Kelley

Ghost and Spirit

★★★☆☆

The challenge of curating a retrospective of a career as rich as Kelley’s is to build a narrative that both lay audiences and art historians can believe. Wood packs the show and pleases neither fully.  It’s remarkable that any artist’s…

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