Journey back to 1923. Imagine the outskirts of Buenos Aires, a landscape of sprawling fields and quiet farms. Workers are meticulously placing metal markers, sturdy and square with pyramidal tops. These are the boundary stones, demarcating the line between the bustling Capital Federal and the tranquil Provincia de Buenos Aires. One of these markers, Mojón 9, stands proudly near where the city meets Villa Lynch, silently witnessing the transformation of the landscape. Mojón 9, as its inscription declares, marks not just a physical boundary, but a symbolic one. It represents the growing reach of the city, the iron and concrete pushing against the green fields. This area, once a rural outpost, would soon feel the pulse of the burgeoning metropolis. This boundary wasn’t arbitrary. It was the designated path for a grand boulevard, 100 meters wide, planned to encircle the city within Capital Federal. The Avenida General Paz, named after a military figure, was finally inaugurated in 1941, years after Mojón 9 and its brethren were placed. Today, Mojón 9 stands as a testament to this history, a tangible link to Buenos Aires’ past. It’s a survivor. It has withstood the relentless march of progress, the paving of colectoras, the rise of new buildings, and even the threat of theft. Many of its companions have vanished, swallowed by development or stolen away. But Mojón 9 persists, a silent sentinel guarding the line. As you stand before Mojón 9, picture the scene in 1923. Imagine the workers, the open fields, the anticipation of the city’s growth. This unassuming marker represents a pivotal moment in the story of Buenos Aires, a story etched in metal and stone.
Центральный дом работников искусств
Step through the grand wooden doors of the Central House of the Workers of Art, and you’ll be transported to