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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.
1989
symbol of the final stage of evolution. 
This symbolism is the central figure of Ars ‘88.
This symbolism is the central figure of Ars ‘88.Along with other renowned Argentine artists, he takes part in El imaginario bonaerense (“The Buenos Aires Imagination”), at Casa de la Provincia de Buenos Aires, and 90 años, una selección de pintura argentina (“90 Years, a Selection of Argentine Paintings”), at the Sala Forum of the Patio Bullrich shopping centre in Buenos Aires.
In December and into January of the following year, he takes part in 11 x 11 at the Centro de Arte y Comunicación (CAYC), where eleven critics pick works by as many artists. Vicente Caride chooses three pieces by Gómez made in 1979, which at the time were a set mounted on a wooden base with fragments of classical mouldings. The work resembled a tomb, at the top of which was a winged figure –today owned by the artist Jacques Bedel– functioning as an allegorical monument, constructed in the same sinewy-looking material as the emaciated semi-human body, lying in two parts at its feet.
