The Storage

Just one location, many possibilities

Philippe Pasqua had the idea for THE STORAGE, a space devoted to artistic experimentation and innovative collectives, and to his own work. A display and storage space, a workshop and a place for museum exhibitions, a sculpture garden: The Storage is all these things at the same time.

For Philippe Pasqua, it is also a laboratory, a workstation and place of reflection, intended to promote international artistic encounters, exchanges and collaborations.

Collectors, professionals and art lovers like students, and also the general public, can come and immerse themselves in the world of the artist. In the sculpture garden, the latest monumental works produced at Carrara are displayed. Soon a programme of collective exhibitions, events and meetings will be announced. In his search for dialogue and collaboration, artists will be regularly invited to work there.

In the inner suburbs of Paris, THE STORAGE is open to different sections of the public, and is devoted to contemporary creation in all its forms: contemporary art, design, new technologies (sounds and images), photography, architecture, etc.

An image of nature in a neglected urban landscape

Intended as a place to store the artist’s enormous canvases, The Storage is a vast warehouse located in a commercial business area. Philippe Pasqua gave Julien Decker carte blanche to transform the car park of this storage facility into an exceptional place.

The landscape architect took up the challenge in less than 4 months, and created a surprise by bringing forth a vision of unspoilt nature amongst surroundings of asphalt and corrugated iron. This totally-enclosed garden is itself a real performance, playing on the vertical to cut the visitor off from the outside world and transport him or her into the troubled and fascinating atmosphere of Philippe Pasqua. The imagined space combines nature and architecture and reproduces a forest of Scots pines interwoven with slate façades.

An exhibition space in its own right

This garden of contemporary art provides the antechamber for this new setting for artistic expression. You enter in the same way as you go into an exhibition hall: following the direction of the visit and keeping your eyes wide open, looking at everything around you, gazing upwards.

The height of the trees, the vertical, rectangular arcades, the charcoal grey slate, the imposing wall of water – this whole plant and mineral setting recalls the earthly vanities and leads us to the central element in the garden: the monumental skull topped with butterflies. Sculpted in white Carrara marble, this 4.5-tonne block placed above the water seems detached from this sombre, unsettling world. It remains inaccessible and fascinating, like Philippe Pasqua.


An inaugural exhibition that brings to light the major, hitherto-unseen works of Philippe Pasqua.

“Like Bacon or Freud before him, whose stubborn work of destruction/reconstruction of the real world he has often contemplated, Philippe Pasqua once again brings us the essential strangeness of the world and the human figure” (Michel Waldberg, Philippe Pasqua, Éditions de la Différence, 2005)

Philippe Pasqua has been painting bodies and faces in an almost compulsive manner for more than twenty years. Those who, like Pierre Restany, knew him in the early days were immediately struck by the physical and emotional power emanating from his canvases. These are very large, sometimes reaching five or six metres in length or height.

“When Philippe Pasqua’s work is examined retrospectively, one cannot help being struck by the inescapable and coherent nature of the path that brought him to his most recent works”, explains the art critic, David Rosenberg.

MEA CULPA resonates both as a bitter vow and a profession of faith. It is an expression of the passion felt by the artist for the human figure and for the substance of paint, the lines of drawings, and the density of sculpture.

Beyond the exhibition of images, MEA CULPA is also an interrogation, a visceral question about the means and challenges involved in representing the face and body today.

Handicaps, differences, the obscene or the sacred – this is the fruit of a struggle, a tension between what can be shown and ‘tolerated’ and what is socially repressed or concealed.

Portraits of the blind, violent bodies, vanities: a recent set of nearly fifty paintings, works on paper, and monumental sculptures will be shown on this occasion.

End of the exhibition: December 2010, by appointment

38 avenue du fond de vaux
95310 Saint Ouen l’Aumône
+33 (0)1 39 09 99 23