It all began with a Picasso – the self portrait Yo Picasso, 1901 – which was acquired by the poet and librettist Hugo von Hofmannsthal and given by his daughter Christiane to her son Michael Zimmer as a wedding present. With the proceeds of the sale of the Picasso, Michael purchased a piece of land on the Baie de St. Jean in St. Barth in 1970 where he created The Camp, an open-air lifestyle experiment that became a magnet for island residents and visitors and which was a fun and light hearted cultural exchange. The artists Julian Schnabel, Brice and Helen Marden, and Jean-Michel Basquiat resided there and created work on The Camp’s sandy ground. Elaine de Kooning, Ellsworth Kelly, Walter de Maria, Jasper Johns, and Craig Clairborne were also guests and many of Michael’s friends joined him in living at The Camp until the early 1990’s when Michael sold The Camp and transitioned to living on the island of Grand Manan, Canada. This exhibition of the work of Brice Marden and Julian Schnabel is accompanied by never-before-seen photographs and archival material from The Camp and opens a window into a past when everything seemed simpler, quieter, and slower. Acknowledgements : The Musée Territorial du Wall House would like to thank the following for their assistance in making this exhibition : Helen Marden, Julian Schnabel, Vera Graaf, Eric Glandard, Shanon DeLano This exhibition is a joint production by The Musée Territorial du Wall House and the non profit Saint Barth Ile d’Art led by Randy and Maya Gurley, Lee Wheeler and Mark Shanker, Nicole Peraud, Fergus McCaffrey and Valentine de Badereau de St-Martin. This exhibition and renovation of the Musée Territorial du Wall House has been made possible by the Collectivité of St Barthélemy and the generous support of : Emily and Mitchell Rales - Lindsey and Frank Auman - Fergus McCaffrey, Inc. - Sylvie and Olivier Chantecaille - David Zipkin / Tradewind Aviation - Matthew Weigand and Olivia de Balzo - Stephan and Heidi Selig - Sarah and Izak Senbahar - Dan and Brooke Garber Neidich - Frank and Allison Bellizzi This exhibition was curated with the assistance of Bill Katz

On September 13, 1928, Guadeloupe wakes up. Calm follows horror. The strongest cyclone ever recorded on the island is moving away. Okeechobee caused between 1,500 and 2,000 deaths. Pointe-à-Pitre is destroyed, Lamentin, Morne-à-L’eau, so to speak, no longer exist… It’s an endless desolation. Photographs from the period show us a landscape of ruins. It looks like Verdun in 1918. The human and material toll is considerable, almost catastrophic. France, through its Ministry of Colonies on which Guadeloupe still depends, very quickly launches the reconstruction project. At least as far as the buildings belonging to the colony are concerned. In April 1929 it signs a contract with a certain Ali Tur, architect, aimed at the reconstruction of all the official structures on the island. Ali Tur. A strange sounding name. With mysterious origins... which sometimes played havoc with him in the nationalist atmosphere of the interwar period. This first name, Ali, however, he owes it to the sole fact of being born somewhat by chance in Tunis to French parents who proved there their open-mindedness. Educated in one of the best workshops of the National School of Fine Arts in Paris, that of Victor Laloux, an architect eager for modernity who taught him the still nascent science of concrete, Ali Tur fully embraces, but with taste and restraint, the astonishing possibilities provided by this revolutionary material. Sent to Guadeloupe from 1929 to 1938 Ali Tur not only rebuilds state buildings but he becomes subsequently commissioned by the municipalities to rebuild their broken infrastructure. In total, more than a hundred buildings of all types and functions are brought out of the ground by the architect. Churches, town halls, tax offices, schools, police stations, post offices, market halls, presbyteries, etc. there is no shortage of work which allows Ali Tur to give a modern face to the island. Generations of Guadeloupeans will now live in a landscape marked by the imprint of this style forever associated with the 1930s and called Art Deco. It is on this very significant episode that this exhibition aims to shed some light. At a time when unfortunately this unique heritage is threatened by progressive degradation and lack of maintenance, it is more urgent than ever to show the incredible quality of the work carried out by a single man who, with restraint and humanism, knew how to heal the wounds of a bruised territory by giving it a modern face. It is thanks to the excellent work of Ms. Michèle Robin-Clerc, architect D.P.L.G., native of Guadeloupe, author of the reference work on Ali Tur (Ali Tur, the architect of a reconstruction, 2015) that this exhibition is possible. All lovers of architecture in general and Guadeloupean heritage in particular are indebted to her for introducing us to it. May she be sincerely thanked here.

The Salon des Artistes de Saint Barth, of which this is the second edition, is being held at the territorial museum of the Wall House, in Gustavia, until July 15. The works of 55 artists, amateurs or professionals, mostly residents of the island, are presented there. This Fair also doubles as a competition where visitors are invited to vote for their favorite works in the three fields in the running: Graphic Arts, Sculptures and Photography. The goal of this event is to offer everyone, without selection, without theme, the most complete freedom to express themselves and show their creativity to the world. Here is the list of exhibitors: Karoline Arcana (peinture)
 Cécile Michot (peinture)
 Vanessa Viti Choisy (sculpture)
 Bella Marjorie Rinaldo (peinture)
 Dvis Dformes (sculpture) 
Gilles Kintanda (peinture)
 Lily Blue (peinture)
 Charles Moreau (peinture)
 Christian Fahrner (peinture)
 Dimitri Magat (sculpture)
 Rémy De Haenen (peinture) 
Isabelle Lindbergh (photographie)
 Kay Quattrocchi (peinture)
 Pascal Foy (sculpture)
 Stéphanie Ripoche (peinture)
 Céline Luu (peinture) Mehdy Maxor (peinture) Jane Wagner (peinture)
 Julie Fumat (photographie) 
Roger Moreau (sculpture)
 Eric Duthoo (peinture)
 Corinne Durin (peinture)
 Lorraine Mahot de la Querantonnais (peinture) 
Cathou Farges (peinture)
 Michel Dam Huguet (peinture)
 Philippe Savary (photographie) 
Rachel Barret (photographie)
 Ricardo Perez Quintero (sculpture)
 Emmanuelle Gérard (peinture)
 Sandrine Hasselwander (sculpture)
 Sandrine Berry (peinture)
Victor Baud (peinture)
Chloé Blanchard (peinture)
 Robert Danet (peinture)
 Antoine Heckly (peinture)
 Eliane Peyrat (peinture)
 Yoann Guérot (peinture)
 Inès Tessier (peinture) 
Cécile Tessier (photographie)
 Gérald Tessier (photographie)
 Chloé Labouérie (peinture)
 Emily Labouérie (photographie)
 Perle Bonvallet (peinture)
 Angela Gréaux (photographie) 
Valentine de Badereau (peinture)
 Tom Jannotta (sculpture)
 Fabienne Leconte (peinture)
 Carolina Cappoen (photographie)
 Christiane Laresse (photographie)
 Guy Laresse (photographie)
 Germain Lédée (peinture)

Stanislas Defize (1942 - 2017) is a Belgian traveling artist, painter, illustrator, sculptor, poet, who spent long periods in Saint Barthélemy throughout his life and who endeavored to express all the Caribbean charm and sweetness to live. Student of Hergé, supporter of the famous clear line of the master, Stanislas Defize discovered Saint Barthélemy in 1980, during a sailing trip that took him from his native Belgium to Africa then across the Atlantic to us. He discovered here a haven of peace, an island full of people like him, wandering travelers, artists, colorful people, a little bit pirates and real rebels who make him want to come back again and again. Until the end of his life, he would come and spend several months a year on the rock, intoxicating himself with friendships and working on the spot to fix the landscapes and traditional architecture of the island on paper. Because, whether in watercolor, painting or with simple pencils, Stanislas Defize is a master of drawing, a very great technician, capable of grasping with tremendous acuity the textures and light specific to Saint Barthélemy. Beyond this descriptive work, Stanislas Defize also wrote and illustrated a Histoire de Saint Barth in 1987, a sort of drawn film full of bloodthirsty Indians, gold-hungry pirates and charming vignettes, where the influence of the school Belgian comics meets Hollywood or the adventure stories of Stevenson and which allows him to proclaim loud and clear his love of Saint Barth and its population. But Stanislas Defize is above all a sailor and a traveler, and his art is nourished by these wanderings, whether in the Indian Ocean in 2010 or during the Prototype Expedition that he undertakes with his two friends Marc de Rosny and Jan Van Den Haute in 2005 around South America, dropping sculptures overboard, strewing their journey with ephemeral works and retracing the coasts like the discoverers of the great era of maritime exploration. In short, it is to a great curious, a generous and attentive artist, full of humor and tenderness that this exhibition which will be held from March 16 to May 31, 2023 at the Territorial Museum of the Wall House wants to pay tribute.