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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
 
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Escena, modelado en arcilla
Scene, clay, during its preparation
 
Invited by the cartoonist Miguel Rep, he takes part in Espacios de arte (“Art Spaces”), a collective exhibition at the Centro Cultural de España en Buenos Aires (CCEBA), which features works by Benedit, Noé, Ferrari, Oscar Grillo, Adriana Lestido, Maitena, Nigro, Oski, Pablo and Roberto Páez, Pablo Suárez, Daniel Santoro, Quino, Calé, and others.
His sculpture Scene, a bronze based on a small polyester piece of the same title, is installed in the garden of a private residence in the coastal town of Pinamar. As usual, the versions differ. In the original, the rider, astride a hybrid of motorcycle and bird of prey, has his head turned, as does a wounded faun. Both are staring at a limp character lying under the wheel, as if he had just been run over. In the Pinamar bronze, however, this last figure disappears, which makes the attitude of the other two characters more ambiguous and therefore more mysterious.
 
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