Participating artists:
Stelios Kallinikou
Andreas Ragnar Kassapis
Athina Koumparouli
Christian Lagata
Irini Miga
Cezary Poniatowski
Evangelia Spiliopoulou

Curated by: Dinos Chatzirafailidis
With the support of: Adam Mickiewicz Institute, Coral

Margins of Collapse brings together seven artists working across painting, sculpture, installation, photo­graphy, video and works on paper. The exhi­bition is concerned with material, architectural and perceptual structures at the point just before they fail to function. The selected works focus on conditions that precede collapse rather than depicting it as event: states where pressure builds without release, forms pushed slightly out of alignment.

The exhibition unfolds across a sequence of compressed and open spaces where spatial arrangements make balance feel provisional. Some works treat the architecture as a structure already compromised, inserting objects where circulation tightens, punctu­ring walls, activating thre­sholds. Others hold back, introducing pause or delay where density might be expected. The two tenden­cies stay in friction through­out. Anticipation gathers, disperses and recon­cen­trates. Elsewhere, image and sound share the same body, where eleven minutes of fragmented
footage are absorbed into a raw wall surface.

Materials absorb, resist or contain forces that remain unseen, while weight and texture press back. Steel bends without breaking; mineral surfaces carry traces of extraction; drawn lines hesitate between measure­ment and drift. Each attends to moments that come before a shift: a vibration, a brief pause, a movement slowed, diverted or sus­­pen­ded.

Reduced forms oscillate between function and abstrac­­tion, resisting the clarity
of either, as the works give no clear account of them­selves. Fault lines cut across the exhibition as both geo­logical realities and psychic formations, the tectonic
and the interior folding into each other.

References remain delibe­rately open. The exhi­bition resonates with a prevailing atmosphere of unease without anchoring itself to a single context or fixed reading. What it traces instead are the subtle frac­tures running through systems, bodies and terri­tories, present but not yet broken open.

The exhibition is pulled between two registers of scale: small panels grouped tightly, photographs that reward proximity, a mound that rises slowly from the floor, set against works that occupy the room bodily and structurally. Neither cancels the other out, and neither settles. Certain works do not address the viewer frontally but demand a different kind of atten­tion, downward or circular. Distance and duration become the primary coordi­nates.

What remains is a charged stillness, where dis­rup­tion is sensed but never fully arrives.