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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.
1979
Untitled, 1979
Aiming to construct body forms and, in so doing, recover the distinctive parts that constitute a whole, Gómez starts working on pieces that suggest skeletons of unspecified monsters, a bestiary in which there is a hidden residue of humanity. He starts using fibreglass to reinforce resin, thus overcoming the brittleness of the latter material, and calcium carbonate, which allows him to employ whitish tones, achieving colours and textures which resemble that of bones.
In March he exhibits the series about guts at the ELE gallery, Estudio de Arte Moderno (“Modern art study”), in Córdoba.
The Museo Nacional de Bellas Artes hosts an exhibition of recent donations. It includes the piece for which Gómez was awarded the Ridder prize, which passed into the holdings of the museum.
He takes part in Doce escultores en la Argentina (“Twelve Sculptors from Argentina”), alongside Curatella Manes, Heredia, Distéfano, Renart, Iommi, Badii, Paparella and others, at the Carlos Morel room in the San Martín theatre.
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