Au grand jour / In broad Moonlight

February 1 – May 3, 2026

Invited to conceive a dual solo exhibition between Marseille and Avignon—her first institutional presentation in France—the artist Agata Ingarden conceived the two displays as “two distinct atmospheric states through which we perceive the same reality.”

In response to the works presented at Triangle-Astérides in Marseille—entirely made of glass and playing with the illusion of transparency, of an all-penetrating gaze to which nothing could resist—the presentation at the Collection Lambert unfolds under the sign of moonlight and darkness: In Broad Moonlight. The five monumental sculptures combine repurposed sections of industrial, cold elevator shafts with stretched musical instrument strings—poised as if ready to produce notes—and bronze casts of twenty-five of our vertebrae, whose alphanumeric codification provides the titles of the works. At the heart of The Shell (T9–12, L1–5, S1), itself positioned at the center of the exhibition space, lies the sacrum, the pelvic bone upon which the entire upper body rests.

Verticality is a central dynamic in Agata Ingarden’s practice, and she has repeatedly worked with the motif of the spine. Here, the artist considers the five elevator-sculptures as portals, granting access to the enigmatic Dream House World. This fictional universe—an organizing principle of Ingarden’s production—materializes on the surface of four oxidized copper evacuation plans. These maps depict elevators, as well as four distinct rooms whose names (rave, metal, base, and rhythm rooms) evoke music and dance, perhaps trance, and in any case a form of isolation within the collective.

The eight new sculptures produced for the exhibition, the Hermits—four of which are presented at Triangle-Astérides—connect the two exhibitions like one of the mysterious passageways shown on the maps. Made from fragments of construction materials, they evoke hermit crabs inhabiting empty shells, but also the solitude of hermitic lives. Their glass windows, whose iridescence conjures the image of perpetual sunsets, bulge dangerously outward, as if on the verge of explosion.

Biography

Agata Ingarden (born in 1994 in Poland) lives and works between Paris, France, and Athens, Greece. She works across multiple media, and her sculptural practice extends to collaborative works combining video, performance, sound, and writing. Her practice is driven by material research as well as investigations into post-humanities, sociology, science fiction, and mythic narratives. Her works have been presented in group exhibitions at venues such as the Palais de Tokyo, Paris (2019); the Frac Île-de-France, Paris (2019); MO.CO La Panacée, Montpellier (2019); the Musée de Silésie (2020); the Nassauischer Kunstverein Wiesbaden (2020); the Künstlerhaus Wien (2020); Kunstfort bij Vijfhuizen (2021); Muzeum Sztuki w Łodzi (2021); and the Art Encounters Biennial (2021).

She has also presented several solo and duo exhibitions, including Heartache at Soft Opening, London, United Kingdom; Hot House at Berthold Pott Gallery, Cologne, Germany; Dom at Piktogram Gallery, Warsaw, Poland; The Future in Reverse with Agnieszka Polska at East Contemporary, Milan, Italy; and Warm Welcome with Konstantinos Kyriakopoulos at Exo Exo, Paris. She received a Special Prize at the Future Generation Art Prize in 2021.

An exhibition co-produced by the Collection Lambert, Triangle-Astérides and the cooperative La Friche la Belle de Mai, in partnership with the Cirva.

With the support of the Les Amis de la Collection Lambert, the Adam Mickiewicz Institute and the Galerie Berthold Pott.

Pratical informations :

Au grand jour

A dual solo exhibition by Agata Ingarden in Marseille and Avignon

January 31 – April 26, 2026 (Marseille, Panorama, La Friche la Belle de Mai)
February 1 – May 3, 2026 (Avignon, Collection Lambert)

Visitors holding an admission ticket from the Collection Lambert or Panorama are entitled to a reduced rate upon presentation of their ticket at the other venue.