I am creator of a technique, of a musical grafía that allows the piano to be studied in a third of the usual time that it takes today. In May, at the Segundo Salón de Arte de La Plata [Second Art Salon of La Plata] and in the Salón de Pintores Modernos [Modern Painters Salon] at Amigos del Arte, he exhibited together with Emilio Pettoruti, Emilio Centurión, Raquel Forner and Raúl Soldi, among others.Xul exhibited in Flores en Florida [Flowers in Florida], Amigos del Arte, and in the Salón de Pintores Modernos [Modern Painters Salon].He took part in the exhibition Salón de Pintura Organizada en Honor de los Delegados al Congreso Internacional de los P.E.N. He exhibited Tlaloc, Pais Monti [Mountain Country], Texto nochi [Night Text], Zintas [Ribbons], Grafía [Writing], Otra Grafía [Another Writing], Ziudá Lagi [City Lake], Escena Teatri [Stage Set], among others.A new stage began in the style of his work. He devoted himself to study, research, and Astrology, and attended meetings on philosophy and religion.In April Xul returned to London to meet his mother Agustina and his Aunt Clorinda —his ‘mamas’ as he called them— who had arrived from Buenos Aires. He returned to Florence in July 1918.Xul went to Milan in July. Together they visited several countries in Europe: Germany, Italy and France. At the end of the year, at Feria Navidad –Año Nuevo– Reyes [Christmas Fair –New Year- the Wise Men]. Emilio Pettoruti signed a review on Xul in Crisol: “He does not search for the ordinary truth, the one established as such; he looks for his own, which is the only truth of all artist. Blacks and whites are pre- dominant in his work. In 1958 he began to develop the idea of the “grafías plastiútiles” [plastiuseful writings] or “pensiformas” [thought-forms], paintings that are pictorial scripts, another code he evolved for the communication between people.He exhibited paintings at the collective show 150 años de arte argentino [150 Years of Argentine Art], a collective exhibition marking the 150th Anniversary of the Argentine Independence, at the Museo Nacional de Bellas Artes, whose director was Jorge Romero Brest.On April 9 he died in his home in the Tigre. Through Pettoruti, he met the Italian artists Achille Lega, a Tuscan futurist, and Piero Marussig (1879-1937), who would later join the Novecento group. He held several exhibitions that year. I am director of a theatre that as yet has not begun working. Music ran in the family, and Xul inherited a sound musical base from his grandfather, Alexander Schulz, a composer, and a zither from his father Emilio, which he learnt to play. They stayed at the Court Hotel for a few days and then went to Paris where they visited the Louvre and saw the Russian Ballet. "I am a world champion of a game that nobody yet knows called panchess (Panajedrez). Salón de Dibujos, Acu- arelas, Grabados [Mar del Plata Exhibition Fair. I am master of a writing that no one can read yet. Halfway through the year he finished writing his San Signos or Libro del Cielo [Book of the Heavens], written in Neo-Creole, a text which he will continue to change until the late 50s.He exhibited in the Modern Painters Salon, organized by Amigos del Arte in May, showing: Bosqe i yogi [Wood and Yogi] Ciudá qe ángel se le va [Angel that Leaves the City], Ruinas con gente [Ruins with People], Mansierpe [Man-Serpent], among others. To the art of painter, he added that of writer, translator and illustrator of notes.Discouraged by life in Argentina, he wrote to his ‘mamas’: “since I’ve been here, I’ve made very little money, with a little drawing or two, badly paid, etc., in time it will get better, making decorations, etc. The image strongly suggests an afterworld, but it is not clear from the image whether the environment correlates to tradition Christian understandings of heaven or hell. Clubs [Salon of Paintings Organized in Honor of the Delegates of the International Congress of P.E.N. Osvaldo Svanascini has drawn attention to the matureness of his painting and a phase of harmony where his quality as a colorist materializes. The three painters were chosen because they were the closest to the European avant-garde. Notes and translations by Xul appeared in the Revista Multicolor de los Sábados of the newspaper Crítica, in El Hogar, in Destiempo, and he did a translation for the Losada publishers. Two figures hold a shrouded corpse, which is also surrounded by flames.

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