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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.
1970
After another brief trip to Paris he temporarily abandons artistic activity. It is a time of revisions and reconsiderations. A few years later he will say:
In ’70, ’71 and ’72 I tried to interrupt the discourse that dominated visual arts, the apparent state of normality that was demanded from artists. I tried to do away with the conflict, with the rules that were imported (and are still imported, hence my doing my thing) from other disciplines, such as fashion, and don’t come from here. That fashion, that norm of never attacking the visual. 
