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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.
1983
portals for a year, inspired by the old eclectic facades of the San Telmo neighbourhood of Buenos Aires. He carves all elements in wood, retaining its colour and texture: cast iron grilles and panels; frames, jambs, mouldings and door tympani; corbels, balusters, columns, cornices, rosettes, windows, arches, steps, friezes and all kinds of stone ornaments. The detailed craftwork hypnotises the viewer’s senses with its true-to-life representations. Martín-Crosa points out that this rich material
"(...) points to an ideal object: prestige (...) He re-thinks reality from the point of view of the vain decorations that people favour. He was attracted by –and incorporated– the effervescence of matter in all its trivial and boastful display but, at the same time, in its radiant, which is to say 'absolute' intention. An extreme symbolism, that of Norberto Gómez. In order to refer to absolute consciousness, he represents scorched meat; in order to point out the infinite aspirations of human activity, he starts from kitsch." 
