Pere Noguera (La Bisbal d’Empordà, 1941). Irony, play, intuition, courage, all validate the wide and polyhedric trajectory in which multiple disciplines such as installation, the photographic process, video, action art, theatrical scenography and non-formal pedagogy make up his extensive artistic framework . In his seventies, he held three paradigmatic and unusual exhibitions covering the period in which he acted as historian, editor, commissioner and artist: La fotocopia com a obra document (La Sala Vinçon, Barcelona, 1975), Arxiu-Sèrie Massanet (Galeria Massanet, L’Escala, 1977), La Terrissa de la Bisbal l’Argila com a Matèria, el Procés d’Elaboració com a Pràctica (Fundació Joan Miró, Barcelona, 1978). Three exhibitions in which the core of Noguera’s corpus is showm: installation and action as material structures that allow him to analyse, improvise and also appropriate the objects he leaves behind. During the 1980s he was present in important national and international collective exhibitions of the time, such as Bèstia (Barcelona, 1984), Torens van Babel (Antwerp, 1984), the Antwerp Sculpture Biennial (Antwerp, 1985), Extra! (Barcelona, Palma de Mallorca, 1986-87), among others, as well as exhibiting on various occasions at the Espai 10 of the Fundació Joan Miró in Barcelona, L’espai B5-125, in the Department of Art of the Universitat Autònoma de Bellaterra and the Sala Metrònom, of which he was a founding member. In 1992 he took part, as Barcelona’s representative in ARTE AMAZONAS, an artistic contribution to the United Nations Conference on Environment and Development “Rio 92” (an initiative of the Goethe Institut Brasilia). He has also taken part in collective historical revisionary exhibitions such as Desacuerdos (MACBA, Barcelona Centro José Guerrero, Granada, 2006) and El Arte Sucede (1965-1980) (MNACRS, Madrid, Koldo Mitxelena, Donostia, 2006). In 1981, he exhibited the installation H2O in the 3rd International Symposium on Art Performance in Lió: a work related to the practice of the muddy, the residual and the everyday. He has been included in the programming of institutions, such as, La Acción, MNCARS (1994), the Cicle de Performance, Art i Acció, Entre la Performance i l’Objecte, 1949-1979, MACBA, 1998 and at the same time he has been a regular collaborator with independent initiatives such as the magazines Caminada and Parlada, organised by Ester Xargay and Carles Hac Mor among other artists. Hac Mor defined Pere Noguera’s actions as follows: “Every action by Pere Noguera illuminates the idea of knowledge as an adaptation-action: his poetry does not focus on doing, it focuses on being”. His works include the video-action Prémer amb les Dents made in 1999 as part of the exhibition El colour m’afecta (Espais, Centre d’Art Contemporani, Girona), as well as the Spectator of the River that Precedes it (1992), an action carried out in his domestic environment, as his house is on the edge of a tributary of the Daró river, a space that goes beyond the private. Back in 2003, as part of the programme of Acts of Faith and Generosity, Sacred Spaces, 1st international Art Festival, he carried out the Pixar action. From 1997 to 2006 he was Director of the Terracotta Museum of La Bisbal responsible for the creation of its museographical plan and the design of the collection. His work is in following collections: the Rafael Tous Contemporary Art Collection, the Vila Casas Foundation, the Suñol Foundation, the Ernesto Ventós Foundation, the Girona Museum of Art, the Barcelona Museum of Contemporary Art (MACBA) and the Artium Museum in Vitoria.