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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.
1981
Grill II or Burnt, 1981
In February, La Opinión newspaper features a long article by Jorge Glusberg which deals with the different phases in Gómez’s output, placing him, in the history of Argentine sculpture, amongst the most important contemporary artists. With reference to Gómez’s recent work, he points out the artist’s admiration for, and identification with, Pollock’s and Bacon’s oeuvres, and remarks that it presents the signs of the mutilations suffered by individuals in increasingly aggressive societies. 
He takes part in the 1st Biennial of Modern Art in Montevideo, Uruguay, where he is awarded the Primer Premio de Escultura (“1st Prize in Sculpture”), and in the 4th Biennial of Medellin, Colombia.
In Clarín newspaper, he writes a harsh article about the Premio Palanza; although he praises the work of the winner, Jorge Gamarra, he denounces the “sterilizing” attitude of the organisers, the Academia Nacional de Bellas Artes (“National Academy of Fine Arts”), and, more generally, the mediocrity that
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