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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
 
1930
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1970
 
1980
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2000
2010
2020
 
1970
1971
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1973
1974
1975
1976
1977
1978
1979
1977
Orgánico, 1977
Organic, 1977
 
After experimenting with foam and polyester sheets in biomorphic works that suggest knotted guts, sinews and mutilated limbs, he shows on of these pieces, called Organic, for the first time, along with others from his previous period, in the exhibition Once espacios (“Eleven Spaces”), organised by Samuel Paz at the Ruth Benzacar gallery. A renowned group of sculptors take part: Horacio Coll, Carlos de la Mota, Juan Carlos Distéfano, Noemí Gerstein, Claudio Girola, Alberto Heredia, Enio Iommi, Aldo Paparella, Emilio Renart and María Juana Heras Velasco. Gómez’s work, while retaining the metaphor of dissolution employed in the pieces of 1976, subverts schematics by reintroducing the expressive marks he had abandoned. Through gestural language, colour and texture, he refers to one primary material, living tissue, which becomes laden with existential connotations. The work made one of the viewers uneasy and it was moved to a less visible spot.
 
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