Agata Ingarden

Last weekend, don t miss: AGATA INGARDEN Au grand jour (In Broad Moonlight) Curated by Victorine Grataloup 🙏🏽 Solo exhibition by Agata Ingarden at Collection Lambert, Avignon, France 1 Feb – 3 May 2026 Opening: 31 Jan, 6 pm as part of « Au Grand Jour » double solo exhibition in Marseille @triangle_asterides and in Avignion @collection_lambert Here , in @collection_lambert « Invited to conceive a double solo exhibition between Marseille and Avignon, her first institutional presentation in France, artist Agata Ingarden imagined the two installations as “two different atmospheric conditions under which we’re actually looking at the same project. While the exhibition at the Collection Lambert in Avignon is placed under the sign of moonlight and darkness, the works brought together at Triangle-Astérides—all made of glass and playing with the idea of transparency, both literal and metaphorical—on the contrary invite the gaze to infiltrate everywhere, pushing the scopic drive to its paroxysm. Au grand jour, out in the open, before everyone’s eyes: “Glass create distances while giving the impression that it reduces it. Everything only seems to be visible.”” Une co-conception et co-production : Triangle-Astérides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @mickiewicz_institute @bertholdpott photos : Aurélien Mole @triangle_asterides @agingarden @collection_lambert #agataingarden #trianglesastérides #collectionlambert #bertholdpott #bertholdpottgallery photos: Aurélien Mole

𝙼𝙾𝚃𝚑𝚂 is open this week, Thu.-Sun., 17-22h 🐛 Dreamer 3 & 5 by @agingarden : Agata Ingarden presents two sculptures from Inside the Dream House, a project inhabited by the Butterfly People – fictional hybrid moth-humans inhabiting a simulated parallel reality. Within a corporate system of surveillance, their constant productivity is sustained by an eternal dream-like state between work and sleep. Dreamer 3 & 5 are wearing reconstructed, silk-printed suits that reveal moth-like silhouettes, layered linings, and emerging wing structures, evoking a next stage of metamorphosis in which their bodily cells might finally reassemble and reunite. The word ‘empathy’ circulates through their limbs as a ritual incantation that accompanies this transformative incarnation. It alludes to the Ancient Greek ἐμπάθεια (empatheia) stemming from ἐν (en; "in") and πάθος (pathos; "passion" or "suffering") – scorching affects projected onto the moth in its final struggle by Woolf and Dillard. Placed behind UV-blocking office windows, these phantom-like apparitions hover between inner life and external control, deprived of the ultraviolet spectrum of light that is so irresistible to moths. Suspended in time and space, they mark a pivotal moment in the Butterfly People’s transformation as they materialize their bodies from surrounding matter – copper, textile and wood. These glass surfaces come to light as portals to another dimension, mirroring Woolf’s awakening to a renewed perception of life as a harbinger of its end, ignited through her encounter with the moth surrendering to death on her windowsill. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn . 𝙼𝙾𝚃𝚑𝚂 is co-produced by @komplot_brussels , part of @artbrussels ’ OFF programme, and realized with the support of @kult.xl , @nlinbelgie and @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles Documentation by @documentationstation.be

We are very pleased to be showing Agata Ingarden's work "Mushroom Brain" 2022-2026, as part of the Ecological Translation exhibition at @goetheinstitut_athen from April 28 - May 30. Please join us for the exhibition opening on Tuesday the 28th of April from 18:00. And earlier in the day for a full day of panels and talks, including a keynote by Professor Bernhard Siegert on the acoustic significance of oceans. Full details, schedule, and list of participants at Free and open to all!

Evacuation Plan - The Eye door, 2025 uv print on copper, oxidation, aluminium frame In Broad Moonlight 01.02-03.05, Collection Lambert curated by Victorine Grataloup Immense thank you to teams of @collection_lambert and @lesimongerard in helping produce these pieces first for @15gwangjubiennale @mar___maryna for getting with me to Dream House Game map and the Dream House world exactly 2 years ago in Ikaria 🌹 to @bog_dana_aqua__kosmina_ukraina for believing in Dream House from the beginning

With 2 weeks to go before 𝙼𝙾𝚃𝚑𝚂 unfurls its wings, we would like to introduce the artists: 𝐀𝐠𝐚𝐭𝐚 𝐈𝐧𝐠𝐚𝐫𝐝𝐞𝐧 (b. 1994, PL) lives and works between Paris and Athens. Working across installation, sculpture, video, and mixed media, she explores the intersections of narrative, materiality, and transformation. Her works often draw on myth, science fiction, and post-human thought, suggesting realms in which objects, bodies, and environments remain in states of flux. Ingarden constructs sculptural realms where industrial and organic materials coexist and evoke living systems - architectural remnants, and unfamiliar organisms as autonomous presences within responsive environments. Ingarden’s work explores agency in metamorphosis, materializing the ways in which inner identity entangles with technology, ecology and external systems of surveillance and control. 𝙼𝙾𝚃𝚑𝚂 is a nocturnal group exhibition, presenting the artistic practices of @kim_farkas , @agingarden , @minnekersten , @vibekemascini , @monicamays_ , @chantalvanrijt , curated by @koi_persyn , in the Chapel of Boondael. 𝙼𝙾𝚃𝚑𝚂 is co-produced by Komplot @komplot_brussels , part of Art Brussels’ OFF programme @artbrussels , and realized with the support of the municipality of Ixelles @kult.xl , the Embassy of the Kingdom of the Netherlands @nlinbelgie and the Polish Institute Brussels @polishinstitutebrussels . 🐛 18.04 > 10.05.2026 🕘 Thu. - Sun., 17:00 - 22:00 🌅 Sunset: ± 21:00 🗓 Opening: 17.04.2026 / 18:00 - 22:00 📍 Chapel of Boondael / Square du Vieux Tilleul 10, 1050 Ixelles 1: Portrait by Matthew Thorne @matthewjjthorne 2,3: Au grand jour (In Broad Daylight), installation view, Triangle-Astérides, Marseilles, 2026 4: Au grand jour (In Broad Moonlight), installation view, Collection Lambert, Avignon, 2026 Graphic design by @tj0ki

Hermit 2 and Hermit 3 glass, marble, rocks, found elements, Stainless steel, steel mesh, jesmonite, threaded rod, bolts, 3d print, office blinds in In Broad Moonlight 01.02-03.05, Collection Lambert curated by Victorine Grataloup 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. Thank you @good_name_london @calpav @acigoddard @mar___maryna Une co-conception et co-production : Triangle-Astérides @triangle_asterides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @bertholdpott @mickiewicz_institute photos : Aurélien Mole

Hermit 1 and Hermit 2 glass, marble, rocks, found elements, Stainless steel, steel mesh, jesmonite, threaded rod, bolts, 3d print, office blinds in In Broad Moonlight 01.02-03.05, Collection Lambert curated by Victorine Grataloup 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. Thank you @good_name_london 🤍🤍 @calpav @acigoddard @mar___maryna Une co-conception et co-production : Triangle-Astérides @triangle_asterides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @bertholdpott @mickiewicz_institute photos : Aurélien Mole

The Shell (T1-T8), 2025 and The Shell (T9-12, L1-5, S1), 2025 Elations, 2025 in In Broad Moonlight 01.02-03.05, Collection Lambert, Avignion @collection_lambert curated by Victorine Grataloup 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. Une co-conception et co-production : Triangle-Astérides @triangle_asterides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @mickiewicz_institute @bertholdpott photos : Aurélien Mole thanks to @fquintin @gdanskagaleriamiejska @gabiwarzycka

Atlas (C1-C4),2025 and C5-C7,2025 in In Broad Moonlight 01.02-03.05, Collection Lambert, Avignion curated by Victorine Grataloup 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. Une co-conception et co-production : Triangle-Astérides @triangle_asterides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @mickiewicz_institute @bertholdpott photos : Aurélien Mole thanks to @gdanskagaleriamiejska @gabiwarzycka

In Broad Moonlight 01.02-03.05, Collection Lambert, Avignion curated by Victorine Grataloup Immense thank you Victorine Grataloup for this invitation and to the teams of @collection_lambert @fquintin @triangle_asterides @leaaboyer @stephane_ibars as well as incredible @good_name_london working with me on this, and forever support of @acigoddard @calpav @mar___maryna 🌸 As well as @gdanskagaleriamiejska @gabiwarzycka without whom the Elations works would never come to life to become part of this exhibition 🌹 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. Une co-conception et co-production : Triangle-Astérides @triangle_asterides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @mickiewicz_institute @bertholdpott photos : Aurélien Mole

In Broad Daylight 30.01-24.04, Triangle-Astérides, Marseille as part of « Au Grand Jour » double solo exhibition in Marseille @triangle_asterides and in Avignion @collection_lambert curated by Victorine Grataloup Une co-conception et co-production : Triangle-Astérides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @mickiewicz_institute @bertholdpott photos : Aurélien Mole

In Broad Daylight 30.01-24.04, Triangle-Astérides, Marseille as part of « Au Grand Jour » double solo exhibition in Marseille @triangle_asterides and in Avignion @collection_lambert curated by Victorine Grataloup “In-corporate Elevator 1 – The Portal stands facing the entrance door of the Panorama exhibition space, like an invitation to cross a threshold from one world to another. The In-corporate Elevators series consists of five elevator-scale sculptures assembling large panes of glass, remnants of an office building in Kyiv, Ukraine, dismantled before the war. The artist considers these sculptures as “portals,” granting access to the enigmatic Dream House World. “Dream House is not a narrative in a sense where there’s no beginning, resolution, storyline, but it’s a fictional infrastructure rather. It is only important to understand that there is an underlying system [to our reality]. An atmosphere of solitude and isolation emerges from their micro-society, or conversely one of melancholic dissolution into the collective. An analogy can be drawn between the image of an autonomous system underlying our own, such as the Dream House World, and the subterranean, invisible network that supports our digital environment and the constant flow of images and videos. It is no coincidence, in Agata Ingarden’s work, that optical fiber is also made of glass. “We live in the age of glass,” the artist wrote in her preparatory notes for the exhibition. “Glass really shapes how we live today: shaping cities, interiors, modes of visibility. It’s the glass of the telescope looking in the stars, of the microscope looking into the micro world. It’s the glass of a surveillance camera. The full transparency of the contemporary world make us feel that we’re so exposed; there’s no room for the interior world, there’s no boundary anymore between the public space and the private space.” Une co-conception et co-production : Triangle-Astérides et Collection Lambert @collection_lambert Coproduction : @frichelabelledemai Partenaires : @cirvamarseille @mickiewicz_institute @bertholdpott photos : Aurélien Mole