Julio Sapollnik, “Norberto Gómez. A surgical statuary”, Horizontes, Year 1, issue 2, Buenos Aires, November/December 1978. Asked about the allusion to the death flights, the author confirms it in an email (03/02/2006), pointing out that, at the time, newspapers reported several bodies being found in the River Plate. Then he adds:
“I lived in fear, but Norberto’s exhibition made such an impact on me that I felt strongly committed to the truth and suggested the article.
I went to his workshop in Sarandi or Villa Domínico and we talked all the afternoon, sitting in his doorway. Across the street a butcher was chopping half a carcass on the pavement.
The editor of the Revista Horizonte was a journalist at the Ansa news agency and I didn’t know if he’d agree to run a piece on Norberto. And so, torn between fear (I was a student and also worked for a state company) and the desire to shout everything, and the need that the oppressor should not realise what I was saying, I hit on what you call “the poetic turn of the writing”, which for me was the only moment of fulfilment, because, as Norberto did in his sculptures, I managed to put into it all the parts of a body that I felt was broken.”