There were about 1,500 years left for the first monumental constructions of the Mayans to emerge in Mesoamerica when the majestic Sacred City of Caral began to rise in the Peruvian desert, the center of a civilization that covered a large territory and lasted for more than a thousand years.

«This is the oldest civilization ever found in America and, without a doubt, one of the oldest civilized centers in the world, almost as old as Mesopotamia and Egypt», [...]

«Today it may seem almost anachronistic to talk about “women painters.” Already in the Italian Renaissance, Artemisia Gentileschi (1593 - 1654?) among others, proved to be as talented as Caravaggio himself. Her story was hard as was her path in the art world, exclusive only to men.

Over time, many women began to dabble in painting, first as a kind of entertainment such as music or literature. In the middle of the 19th century, the first woman who decided to dedicate herself professionally to the plastic arts appeared in France. This was inconceivable in manly thinking, but Berthe Marie Pauline Morisot (Bourges 1841 - Paris 1895) developed an artistic career for more than three decades, exhibiting from the age of 23 at the Paris Salon.

In our March installment, Sonia Decker's article on the artistic universe of Guillermo Roux provoked a message from the author of this new chapter about that master. He was referring to a secret that involved him, and he requested that we not make it public. This last wish deprived us of a fascinating story and we regret it.

But with the help of a great friend, we managed to get the member of the National Academy of Fine Arts, delegated by the province of Entre Ríos, to open the chest of memories for us and today he shares with us a mischief by Guillermo Roux that takes public status for first time. You are the privileged ones.

«Whoever visits the Pinakothek der Moderne in Munich and goes up to the rotunda on the top floor of the building designed by the German architect Stephan Braunfels (1950) and inaugurated in 2002, will be confronted with a series of goose or ostrich eggs. Holes, or rather emptied, and hanging from a thread, a cable or a gauge. And a little further, with a piece of cheese made of wax, held by small golden clasps. And with some natural sponges [...]»

This brief description, we imagine, will captivate the attention of every curious reader. That's how it happened to us.

Born in 1898, his full name was Carlos Justo López, but his hearing loss gave him his authentic identity, "El Sordo López", today so recognized through his pieces. Being an exceptional chiseler, he specially made knives, harrows and handles with a unique decorative repertoire, which he also knew how to apply in some "veneers" that aroused admiration among the public in parades and contests of undertakings, archetypes of the so-called errands of the coast, heterodox version of Creole horsemanship born in the 20th century, not accepted by the traditionalists most attached to the old ways.

Little is known about his biography; He barely spent any time in Necochea and Tres Arroyos, and we set out to trace his past. We share the fruits of the research with you.