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Norberto
Gómez
by
Adriana Lauria and Enrique Llambías
March 2006
Bibliographic reference of this dossier
Versión en español
 
This dossier covers forty years of Norberto Gómez’s work, from his minimalist constructions of 1966 and 1967 to the anti-monuments he produced in polyester and bronze in the nineties. In between, his series of “guts”, organic remains, weapons and “plasters” punctuate a long career that has enriched the Argentine art scene.
 
Introduction | Sculptures | Drawings | Chronology | Critical Anthology | Bibliography
 
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His family moved from Capital Federal to Sarandí in search of a better climate for Norberto’s asthma. Sarandí is an area on the southern outskirts of Buenos Aires that, at the time, was virtually in the countryside and had a population mostly of Italian immigrants working the land in small farms; Gómez lived there as a child and as a young man, and there too he started giving expression to his artistic inclination. As an adolescent, he started painting signs for garages and decorations on old trucks (an Argentine art form known as “fileteo”).
It is in Sarandí that, some years later, he sets up his carpenter’s and lettering workshop, which provides him with a livelihood for many years.
 
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