Norberto was born in Buenos Aires, Argentina, in 1953. For political reasons he emigrated to Amsterdam in 1979 where he lived for 7 years. He lives in Granada from 1986 where he has developed the activity which is covered in this exhibition.
Norberto Goldburd
The painting.
Thematic:
Norberto activity is an obsessive reflection about the mankind. Although you can see the human body in each painting, mixed with animal forms and adopting the most strange attitudes, its work is in fact a cruel representation of the humanity isolation. The human body is integrated in the landscape but it is always alone, its parts are separated and, finally, the human being is crashed. Most times Norberto says that he is painting reality, a reality which is plenty of destruction, and plenty of disintegration.
Technique:
From my point of view Norberto can be considered an spiritual son of Bacon. In fact he recognises the great influence of the English painter. I think that some cubist influences can be discovered in the landscapes, this abnormal and lunar landscape which serves as a bedroom for bodies. His technique is meticulous. The treatment of colour and forms is like a battle with the elements. Stemming from a sketch of the scene he refine the paintings until he agrees with the result. One colour after another colour, one tone after another tone, one detail after another detail.
The exhibition.
This exhibition is important because it shows the evolution of the author specially in the treatment of colour and in the pain of bodies. in the beginning colours were dark and cold, progressively the black was suppressed of the palette and now colours are luminous and warm. In the beginning bodies could be recognised, now the disintegration effect of its part has been increased and the mixture with things also increases. If I have to select the most representative painting of this exhibition, I select this one, the last one. When I watched it for the first time I exclaimed: It is the synthesis of the synthesis. It contains most of the technical resources used by the author: the disintegrated human body, the lunar landscape and a detailed meticulous treatment of colours. In addition this painting shows its whole evolution.
Probably he is now in a very important moment and something will change in the next future.
What is behind the Norberto work: Some important ideas which explain why public says most of the times: these paintings are disturbing or I cannot watch it for a long time, I am not comfortable with it. From my point of view the first idea is ISOLATION: the modern world and the modern society create isolated individuals. Fruit of this isolation the second idea FEAR: the isolation of people seems to be programmed by the main social controllers in order to achieve individuals which are afraid of other individuals. The last idea steams from the need of breaking ISOLATION and FEAR: COMMUNICATION: their bodies, their animals, their parts of the body and the landscapes implore communication, implore that the isolation finish and the need for a new world were the parts become a unity. If I have to qualify the work of Norberto I could say that It is an ecological song for a lost mankind which searches for communication and love.
Curriculum Norberto Goldburd
Buenos Aires, 1953. Estudios con Pablo Bobbio y Alfredo De Vincenzo en Buenos Aires y en Ámsterdamse Grafische School.
Exposiciones individuales:
Sociedad Argentina de Artistas Plásticos (Buenos Aires)
Fundación Gilberto Alzate Avendaño (Bogotá)
Galería Buchols (Bogotá)
De Baten (Nieuwegein – Holanda)
De Raadskelder (Utrecht – Holanda)
Gemeente Bibliotheek (Nieuwegein)
De Middenhoff (Nieuwegein)
Aorta Galerie (Amsterdam)
Het Veerhuis (Nieuwegein)
De Vrije Vloer (Utrecht)
Librería Platón (Granada)
Casa Yanguas (Granada)
Banco Hispano 20 (Granada)
Galería Cartel (Granada)
Galería Laguada (Granada)
Cavallers de Neu (Valencia)
Centro de Interpretación del Sacromonte (Granada)
Taller de Arte Vimaambi (Granada)
Galería Toro (Granada)
Centro Sociocultural Fernando de los Ríos (Albolote – Granada)
Cartel Fine Art (Málaga)
Galería Toro (Granada)
Exposiciones colectivas:
Salón Provincial de Santa Fe (Argentina)
Sociedad Argentina de artistas plásticos (Buenos Aires)
Galería Altamira (Buenos Aires)
Fundación Gilberto Alzate Avendaño (Bogotá)
Museo Eduardo Sívori (Buenos Aires)
Premio Joven Pintura – Cámara de Comercio (Buenos Aires)
Kulturelle Jaarmarkt (Nieuwegein)
Koepel Kwartier (Ámsterdam)
Arthoteek Osdorp (Ámsterdam)
Stedelijk Museum (Ámsterdam)
Ayuntamiento de Teulada (Alicante)
Premio Antogonza de Pintura – Castillo de Santa Bárbara (Alicante)
Ayuntamiento de La Zubia (Granada)
Galería Laguada – Hydra: Obra Mayor (Granada)
Premio Nacional de Pintura (Teulada – Alicante)
Galería Arte Directo (Granada)
Encuentro de Culturas – Centro Artístico y Literario (Granada)
Obras en colecciones privadas, diversos Ayuntamientos de Holanda y España y en Stedelijk Museum (Ámsterdam)
Publicaciones:
“Shcreeuwen” Poesía ilustrada latinoamericana – Amsterdam – 1980
“Beeldende Kunst in Nederland” – Editorial Alpha – Amsterdam – 1984
“Limen” – Publicación de Pedagogía – Editorial Kapeluz – Buenos Aires – 1981
“La mirada Perdida” – Francisco Bautista Toledo – Tágilis Ediciones – Granada – 1999
“Sobre las ruinas de Alejandría” – Francisco Bautista Toledo – Colección de críticas de arte – Tágilis Ediciones – Granada.
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