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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.
1982
Untitled, 1982
In an article in El porteño magazine, Gabriel Levinas places Gómez’s work within the “aesthetics of revulsion”, linking it to the tradition of critical, engaged art, a line that goes from Grosz, Dix and Soutine to Maryan, Graham Sutherland, and Francis Bacon. 
Meanwhile, Miguel Briante, writing in Artinf magazine, comments on the different periods in his work, and Gómez announces to him that his next series might move towards figuration, fleshing out the bodies that now appear as remains. 
In September he takes part in the exhibition Escultura II, organised at Galería del Retiro by Jorge Glusberg, which includes works by Jacques Bedel, Distéfano, Noemi Gerstein, María Juana Heras Velasco, Heredia, Iommi, Marotta, Minujín, Lucía Pacenza, Aldo Paparella, Alfredo Portillos, Eduardo Sabelli and Luis Wells.
The Asociación Argentina de Críticos de Arte awards him the Premio Artista del Año 1982 (“Artist of the Year 1982 Prize”).
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