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Norberto
Gómez
Gómez
by
Adriana Lauria and Enrique Llambías
March 2006
March 2006
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.
1968
Ascension, 1968
He has a one-man exhibition at the Arte Nuevo gallery.
In this period he keeps his expressive means to a minimum as a form of self discipline. He only employs black and white, as any other colour would express feelings or sentiments, and therefore might cloud his intentions of making purely visual pieces with a predominantly reflexive spirit.
He donates one of these minimalist pieces to the Museo Provincial de Bellas Artes in La Plata. Its title, Circle into Cube, describes the transformation, broken into several stages, of a circular figure that turns into a cylinder, unfolds into a plane and then acquires volume until it becomes a cube.
In late April he enters two minimal works into the Ver y Estimar prize, Cylinder into Circle and Ascension, where he introduces the idea of transformation or dissolution in forms, using geometric objects that lose their volume in successive stages.
At this time he also helps other young argentine artist realise their projects, working with artists like Marie Orensanz, Antonio
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