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Norberto
Gómez
by
Adriana Lauria and Enrique Llambías
March 2006
Bibliographic reference of this dossier
Versión en español
 
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.
 
Introduction | Sculptures | Drawings | Chronology | Critical Anthology | Bibliography
 
1930
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1980
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2010
2020
 
2000
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2005
Alambres, 1984
Wires, 1984
 
He is invited to take part in Berni y sus contemporáneos. Correlatos (“Berni and his contemporaries. Correspondences”), at the Museo de Arte Latinoamericano de Buenos Aires (Malba), a show that commemorates the centenary of Berni’s birth. Along with the works of eighteen other Argentine artists (Del Prete, Spilimbergo, Forner, Sibellino, Kemble, Greco, Pucciarelli, Noé, de la Vega, Macció, Deira, Badii, Heredia, Renart, Distéfano, Suárez, Bony, Schvartz), one finds his Wires and The Ship confronted with Berni’s works from the ‘70s, which, like Distéfano’s and Renart’s, make reference to the tragic period of the last military dictatorship. In June and August, the show travels to the Museo Castagnino in Rosario.
From cylinder to cube, one of his minimalist works which has not been seen for more than three decades, is shown as part of Los '60. Artistas argentinos en el patrimonio del Museo de Bellas Artes de la Provincia de Buenos Aires, an exhibition at the stand of the Fundación Banco de la Provincia de Buenos Aires in the art fair Arte BA, at the Sociedad Rural in Buenos Aires.
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