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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.
1996
Distinguished examples of his output from the years 1977, 1983 and 1984 take part in the exhibition Puente aéreo II at the Museo de Arte Contemporáneo, in Santiago de Chile, alongside works by Ferrari, Heras Velasco, Suárez, Dompé and Boccardo. It opens in May, as part of the Jornadas de la Cultura Argentina en Chile (“Argentine Culture in Chile Symposium”), which also included drama, tango, dance, literature and cinema.
An exhibition called Miguel Briante. El ojo en la palabra (“Miguel Briante, the Eye of the Word”) opens at the Centro Cultural Recoleta. Gómez is one of the artists that takes part in it (along with Aguirrezabala, Berni, de la Vega, Liliana Maresca, Renzi, Benedit, Distéfano, Estela, Ferrari, Gorriarena, Grippo, Kemble, Macció, Noé, Pino, Polesello, Porter, Rep, Schvartz, Suárez, Testa, Wells, and others). In January of the following year the exhibition travels to the Teatro Auditorium in Mar del Plata.
