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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.
2004
Untitled, 1989-2004
He donates one of his bronzes to the recently opened Museo de Arte Conmporáneo de Rosario (MACRO), an extension of the Museo Castagnino specially devoted to contemporary expression. Gómez’s piece, Untitled, is cast in 2004, based on a previous piece called Forest. There are several differences: in the new one, for instance, one of the figures has horns and a hoof instead of a hand, thus becoming a satyr. The serpent curling around a tree-column is more visible, the feline lying at the foot of the figures has different features, the plinth mouldings and several details are more elaborate. The work takes part in the opening exhibition at the museum.
An extended version of the exhibition Between Silence and Violence is shown at the Espacio Telefónica de Buenos Aires from November 2004 to March 2005, accompanied by an important catalogue. Gómez takes part in it with Grill I, Carcass and Hanged Man, whose meaning and topicality represent some of the most dramatic aspects of the subject of the exhibition.
