NAME OF THE MURAL:
SAN JULIAN 01/05/82
The mural aims to represent the military activity at Puerto San Julián during the Malvinas War, along with the daily lives of the local residents.
The artwork commemorates a key moment in the conflict:
May 1st, 1982 — the date of the "Baptism of Fire," which marked the Argentine Air Force's first combat operation in the South Atlantic.
The three aircraft depicted in the mural are Mirage V Daggers, combat planes that played a crucial role during the “Baptism of Fire.”
That day, a squadron of three Daggers, code-named “TORNO,” took off on an attack mission against the British fleet.
Piloted by Captain Norberto Dimeglio, First Lieutenant César Román, and Lieutenant Gustavo Aguirre Fajet, these planes were the first to locate and damage enemy ships that were bombarding Port Stanley.
Their brave action marked the beginning of the Argentine Air Force's involvement in the aerial combat of the Malvinas War.
The background of the mural sets the scene at the Puerto San Julián airport.
Unlike other mainland air bases used during the Malvinas War, San Julián lacked permanent military infrastructure, such as mess halls or barracks for soldiers. It had only eight air-raid shelters.
During the conflict, it operated as an active military air base, and personnel were housed in the town itself—in hotels, gyms, and repurposed buildings. This unique situation created a very close relationship between the soldiers and the San Julián community.
The snowy setting reflects the harshness of an especially cold winter in 1982.
The presence of military vehicles, soldiers, and a trench in the scene reinforces the sense of intense military activity in the area, due to its strategic importance as an air base.
The image of a man pointing and counting the planes in the sky captures the tense atmosphere experienced by the people of San Julián.
This everyday scene, repeated with each takeoff and return, reflected the citizens’ hope for the safe return of every pilot.
The scene of a soldier sharing a meal in a home reflects the warmth, affection, and support shown by the people of San Julián toward the soldiers. It was common for families to open their doors to offer food and a moment of rest to the troops, strengthening the bond between the community and the military during the conflict.
The image of a woman knitting warm clothing with care personifies the spirit of solidarity shown by the women of San Julián, who with their own hands crafted garments for the soldiers, offering them love and protection against the harsh winter.
The image of children crouched under their desks at school evokes the air raid drills, a routine that marked the tense daily life in San Julián.
For parents, the thought of their children being alone at school during these exercises brought feelings of helplessness and worry, as they couldn’t be by their side.
At night in San Julián, windows were kept shut or covered with makeshift curtains made of blankets, cardboard, or paper.
This meticulous blackout aimed to eliminate any glimmer of light that might reveal the town’s presence from the sky, in the face of the looming threat of air attacks.
Volunteer civil defense citizens patrolled the streets, ensuring that every home remained in darkness, thus protecting the community under cover of night.
When the alarm siren sounded in the city, makeshift shelters were built using household mattresses.
The image reflects the innocence of children in the face of danger, while their parents, with strength and resolve, tried to protect them not only from physical harm but also from fear—turning tension into a moment of play.
The television with official propaganda represents the manipulation of information carried out by the dictatorship during the Malvinas War.
The propaganda broadcast by government-controlled media presented a triumphalist narrative, hiding the reality of the conflict and making it difficult for the population to access objective information.
During the Malvinas War, it was common for schools to encourage children to write letters to the soldiers. Even though they didn’t know the recipients personally, the kids expressed words of encouragement, gratitude, and hope with genuine affection.
These letters, full of innocence and warmth, became a symbolic way to accompany the soldiers from afar and offer them comfort amid the conflict.
SOME DETAILS IN THE MURAL
THE BLUE GLOVES
The blue wool glove refers to the history of our town.
In 1982, Magalí, a 5-year-old girl, gave José Luis (a soldier) a pair of gloves and a scarf.
In that moment, they took a photo together.
38 years later, thanks to social media, José Luis and his fellow soldiers managed to reconnect with that little girl.
THE MONUMENT PLANE
During the Baptism of Fire, the Mirage V Dagger C-421 (now preserved as a monument in the small plaza along the Puerto San Julián waterfront) played a key role.
Five minutes after a squadron of three Mirage jets took off to attack British ships, the C-421, along with another aircraft of the same type, took off with the mission of providing air cover and protecting them from possible attacks by Royal Navy Harrier fighters.
THE YELLOW STRIPES
On April 28, orders were given to paint one-meter-wide yellow stripes on the wings and the underside of the planes' fuel tanks, to help Argentine anti-aircraft artillery identify friendly aircraft.
Since the system proved ineffective, on May 24 the stripes were covered with green synthetic enamel bought from local hardware stores. According to the book Avialatina, in some cases the final color appeared turquoise green or bluish green.
THE HANGARS
Although the technically correct term is "air-raid shelters," locals commonly refer to them as "hangars."
These structures at the San Julián Air Force Base (BAM), built in late 1978 during the crisis with Chile, were essential during the Malvinas conflict, providing shelter to Fighter Group 4 and their A-4C Skyhawk aircraft.
Due to their limited capacity, the Mirage V Dagger squadron—along with all their equipment (bombs, fuel tanks, spare parts, etc.)—had to remain exposed to the elements.
NUNCA MAS..
Hidden within the innocent wording of the letter, written with the tenderness and simplicity of an 8-year-old child, appears the phrase “NUNCA MAS (NEVER AGAIN).”
In Argentina, the phrase “Nunca mas” has become a symbol of memory, truth, and justice. It represents a firm rejection of the human rights violations committed during the last military dictatorship, known as the National Reorganization Process (1976–1983).
The apparent innocence of the child’s words contrasts deeply with the weight of the message.
The mural takes on special significance as it is located in the Argensud building, which was used as a military base by the 7th Artillery Group under Colonel Pucheta's command, and was also a refuge for soldiers.