Founded 21 years ago by art dealer and collector Yvon Lambert, this collection presents major works from the second half of the 20th century and the beginning of the 21st century. The places that house the Lambert Collection, made available to it by the City of Avignon, are exceptionally rich in heritage, right in the heart of the city and of Provence. Two very beautiful mansions built in the 18th century by Jean-Baptiste Franque, the hotels of Caumont and Montfaucon, have been remarkably redesigned respectively by Rudy Ricciotti and the brothers Cyrille and Laurent Berger to meet the needs of the museum.

Founded 21 years ago by art dealer and collector Yvon Lambert, this collection presents major works from the second half of the 20th century and the beginning of the 21st century. The places that house the Lambert Collection, made available to it by the City of Avignon, are exceptionally rich in heritage, right in the heart of the city and of Provence. Two very beautiful mansions built in the 18th century by Jean-Baptiste Franque, the hotels of Caumont and Montfaucon, have been remarkably redesigned respectively by Rudy Ricciotti and the brothers Cyrille and Laurent Berger to meet the needs of the museum.

Programme

Slater Bradley My Doppelganger as Ian Curtis in Charlatan Pose (Cigarette and Tree), 2000 Donation Yvon Lambert à l’État français / Centre national des arts plastiques / Dépôt à la Collection Lambert, Avignon © Slater Bradley
Slater Bradley My Doppelganger as Ian Curtis in Charlatan Pose (Cigarette and Tree), 2000 Donation Yvon Lambert à l’État français / Centre national des arts plastiques / Dépôt à la Collection Lambert, Avignon © Slater Bradley
Barbara Kruger Who do think you are ?, 1997 Donation Yvon Lambert à l’État français / Centre national des arts plastiques / Dépôt à la Collection Lambert, Avignon
Barbara Kruger Who do think you are ?, 1997 Donation Yvon Lambert à l’État français / Centre national des arts plastiques / Dépôt à la Collection Lambert, Avignon
ouglas Gordon Never, Never (White), détail, 2000 Donation Yvon Lambert à l’État français / Centre national des arts plastiques / Dépôt à la Collection Lambert, Avignon © Studio lost but found / Adagp Paris, 2022
ouglas Gordon Never, Never (White), détail, 2000 Donation Yvon Lambert à l’État français / Centre national des arts plastiques / Dépôt à la Collection Lambert, Avignon © Studio lost but found / Adagp Paris, 2022

Welcome to the Desert of the Real

Through this sentence uttered at the beginning of the film Matrix[1], heavily influenced by Jean Baudrillard’s thought – “The simulacrum is true” –, Morpheus invites Neo to become aware of the reality of a world he had only detected so far the faked representation, created from scratch by the Matrix. Twenty years after this film was released, when dissemination of information is currently about to implode under pressure from digital data invading out of control our daily life, the question of real, reality and their representation stands out as one of the major issues of our contemporary lives.

By pervading the devices and the narratives at work in the world of mass images (cinema, press, contemporary myths), by creating works whose multiple interpretations invite us to a critical distancing facing the representation of reality as it has been imposed on us or by focusing on the real in its rawest form, the artists’ works displayed in this exhibition invite us with undeniable poetry to question the nature of images we come across, to deconstruct the restrictive representation mechanisms in presence.

Artists : Carlos Amorales, David Askevold, Joseph Beuys, Pierre Bismuth, Christian Boltanski, Slater Bradley, Marcel Broodthaers, David Claerbout, Angela Detanico et Rafael Lain, Claire Fontaine, Anna Gaskell, Kendell Geers, Nan Goldin, Douglas Gordon, Jenny Holzer, Jonathan Horowitz, Paul Johnston, Anselm Kiefer, Koo Jeong A, Delphine Kreuter, Barbara Kruger, David Lamelas, Richard Long, Hamid Maghraoui, Fiorenza Menini, Jonathan Monk, Mariko Mori, Owen Morrel, Tsuyoshi Ozawa, Adam Pendleton, Anri Sala, Jérôme Taub, Gavin Turk, Salla Tykkä

Curator : Stéphane Ibars

Quentin Lefranc, Dos au paysage, 2016 © Ronan Le Creure
Quentin Lefranc, Dos au paysage, 2016 © Ronan Le Creure
Quentin Lefranc, Black Flag, 2011 © Quentin Lefranc
Quentin Lefranc, Black Flag, 2011 © Quentin Lefranc
Quentin Lefranc, Giardino, 2019 © Quentin Lefranc
Quentin Lefranc, Giardino, 2019 © Quentin Lefranc
Quentin Lefranc, Autoportrait (Bivouac), 2020 © Quentin Lefranc
Quentin Lefranc, Autoportrait (Bivouac), 2020 © Quentin Lefranc

And finally, starting all over again, Quentin Lefranc

Following Théo Mercier and Stéphanie Brossard, Quentin Lefranc invests the programme Rendez-vous, sous-sol and the rooms dedicated to it. As part of his research residency at the Collection Lambert, the artist has produced a series of unprecedented works where the brutal dimension of radical and strict architectural forms transforms according to the spaces and the assemblies to integrate natural elements – real or represented – that recall the hallucinatory stories in Vermilion Sands by J.G. Ballard peppered with living metal sculptures endlessly regenerating and other sonic plants.

Each device stages a series of figures the artist draws from an index of common cultural references – enclosures, huts, islets, landscapes and sceneries or imaginary gardens – which he builds, transforms, distorts, according to the rooms and to the different combinations he is provided with.

Curator : Stéphane Ibars

Georges Tony Stoll Paris Abysse 205, 2018 © Galerie Poggi, Paris
Georges Tony Stoll Paris Abysse 205, 2018 © Galerie Poggi, Paris
Page 3 : Georges Tony Stoll Le Minotaure, 1997 © Galerie Poggi, Paris
Page 3 : Georges Tony Stoll Le Minotaure, 1997 © Galerie Poggi, Paris
Couverture : Georges Tony Stoll Sans titre (Je suis là), 1997 © Galerie Poggi, Paris
Couverture : Georges Tony Stoll Sans titre (Je suis là), 1997 © Galerie Poggi, Paris
Georges Tony Stoll Paris Abysse n°357, 2021 © Galerie Poggi, Paris
Georges Tony Stoll Paris Abysse n°357, 2021 © Galerie Poggi, Paris

The Fate of the Minotaur, Georges Tony Stoll

In Spring 2022, the Collection Lambert will devote a great solo exhibition to French artist Georges Tony Stoll. Invited to display his work in all the rooms of the Hôtel de Montfaucon’s ground floor, the artist invents a hybrid world where photographs, drawings, sculptures, paintings on canvas or on wool, sound artworks and videos represent as many perceptible elements essential to unfold this “territory of abstraction” dear to Georges Tony Stoll and in which we find ourselves embarked by his side, as the free adventurers of an undoubtedly commonly shared experience.

The Fate of the Minotaur significantly draws on the artist’s last thirty years of creation in a non-chronological order to create an unprecedented situation in which multitudes of images and narratives imagined by Georges Tony Stoll spread out and of which the visitors become the new keepers. The title evokes these heroic lives experienced since the dawn of time, while the tragic and glowing fates drawn from Ancient Greece’s stories pervade between the lines. It reminds us of Frédéric Mistral’s Camargue, home to a cult of the Toro which Picasso conveyed to set up his own mythology as of the 1930s and execute some of his iconic works to which Georges Tony Stoll confronted at a young age while working as a guard at the Cantini Museum in Marseille. He invites non-conformist figures, worthy heirs to a certain monstrosity transfigured by The Songs by Lautréamont, which currently populate Kae Tempest’s essays

Curator : Stéphane Ibars
With the support of Galerie Jérôme Poggi

Access

September to June:
The museum is open from Tuesday to Sunday from 11am to 6pm
Closed on Mondays, 1 January, 1 May and 25 December
July and August:
The museum is open every day from 11am to 7pm

The Lambert Collection
5, rue Violette - 84000 Avignon
+33 (0)4 90 16 56 20

collectionlambert.com

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WALKS & HERITAGE

La navette fluviale : cross the Rhône for free from the Pont d'Avignon to the Île de la Barthelasse with the river shuttle. On the other bank, enjoy beautiful walks with views of the Pont d’Avignon, the ramparts or the Palais des Papes.
Musée du Petit Palais : a siginificant art collection of Italian paintings, Avignonese sculptures and paintings from the Ecole d’Avignon.
Musée Calvet : the Musée Calvet collections comprise archaeology, decorative arts, ethnography or fine arts.
Maison Jean Vilar : an exhibition, archival and research centre, a place for encounters and entertainments in keeping with the popular theatre spirit.

CINEMA & BOOKS

Utopia Manutention : an arthouse cinema at the foot of the Palais des Papes, with a restaurant.
La Mémoire du Monde : a bookshop combining literature and art with a selection of small publishers and other rare texts.
L’Eau Vive : this cosy bookshop for children holds creative workshops, readings, and book signings.

PLACES TO STAY

L’Hôtel de l’Europe : one of the most ancient hotel in France, in an ideal place where you can have a drink.
Le Lieu : a charming guesthouse and a restaurant in a place full of history and stories, a Cordeliers convent in the 13th century and a bourgeois house in the 18th and 19th centuries.

PLACES TO EAT

Le Violette : inventive cuisine combining local products with flavours from elsewhere in the shade of century-old plane trees, far from the hustle and bustle of the city.
• Subito : simple recipes and fresh products for Italian cuisine lovers.
Come a Roma : delicious Roman pizzas served with sunny tones.
Bella Ciao : an utopian bakery in downtown Avignon offering different varieties of breads, sandwiches and pizzas.