The beginnings of Pere Noguera’s artistic trajectory coincided with the arrival of the new poor, ephemeral and conceptual poetics of the 1970s. Noguera’s sculpture was a dematerialised work in process that incorporated the object, space, nature and landscape as a frame for his installations, following an aesthetic and energetic approach of deconstruction and fragmentation close to Arte Povera. He has made works based on the conceptual processes of photography and electrography, and was a pioneer in working with photocopies during the seventies (La Fotocòpia com a Obra-Document [Photocopy as a Work-Document], La Sala Vinçon, Barcelona, 1975), and in the concept of ‘archives as readymades’, from found photographs and films that reveal a different way of understanding photography and its process – work that has lately been revised in the light of new digital procedures. Matter as revelation, the house and the domestic object as man’s immediate environment are part of Noguera’s cosmic vision, rooted in his native town of La Bisbal d’Empordà, an important centre for the production of earthenware and industrial ceramics. He has popularised the technique of enfangada – covering the floor, walls or a series of objects in mud. He has worked in installation, performance and set design. His work is represented in the collections of the Museu d’Art Contemporani de Barcelona, Barcelona; Artium, Vitoria; Fundació Vila Casas, Barcelona; and Col·lecció Rafael Tous, Barcelona, among others.
The information regarding participants is taken from a file which has not been updated since the completion date of each project.
- Pere Noguera. Archives Histories (Artist)