Born at La Bisbal d’Empordà (1941), a town with a long tradition of pottery and industrial ceramics, Pere Noguera has conducted a contemporary revision of this ancestral material. After studying at Barcelona’s Escola Massana together with the sculptor Eudald Serra, Noguera began his artistic career in the seventies by incorporating domestic objects and landscape elements with an aesthetic and processual approach akin to Arte Povera. He has popularised the enfangada (from fang, meaning ‘mud’ in Catalan), which consists of covering in clay a surface or series of objects in order to observe the drying process and the cracks appearing at random.
Noguera pioneered work with photocopies and the concept of the archive as readymade by introducing found photographs and films. He has developed works based on the conceptual processes of photography and electrography and practised installation and action. Matter as process, the domestic object and the immediate landscape are his main centres of interest.
He has exhibited at Sala Vinçon, Barcelona (1975), Palau de la Virreina, Barcelona (1996), Museu d’Art de Girona (1999), Museu Comarcal de la Garrotxa, Olot (2000), Centre d’Art Santa Mònica, Barcelona (2001), Museu del Port de Tarragona Serrallo (2002), Museu de Ceràmica, Barcelona (2003) and Fundació Antoni Tàpies, Barcelona (2011). His work is included in many collections such as Artium, Vitoria; Fundació Vila Casas and Col·lecció Rafael Tous, Barcelona; and MACBA, Barcelona.
The objects are intended to have the objective character of industrial products. They are not intended to represent anything other than what they are. The previous categorization of the arts no longer exists.