Pep Agut was born in Terrassa, Barcelona, on 6 March 1961.

He starts his career as an artist around 1979. He joins together his studies with semi-professional practice of sport (played field hockey in the Olympic Games in Los Angeles'84) Studied Art at Sant Jordi's Fine Arts School, University of Barcelona (1979-84). In 1980 he runs a contemporary art space together with a group of artists of his town (Grup Tal Taca, 1980-83). He moves to Cologne (FRG) in 1988. In 1991 he is invited to Paris as an artist in residence by Fondation Cartier. Since 1993 he lives and works in his town.

He has directed seminars, given lectures and taken part in public art debates. He has exhibited his work either in solo and group shows in big art-events like the Biennale di Venezia, Sidney Biennale or Prospekt, and also in museums like the Tel Aviv Museum of Contemporary Art, or the MACBA Museu d'art contemporani de Barcelona, among others.

His work is represented in remarkable private and public collections.

Departing from his double background on the practice of painting and photography Agut focuses very soon his interest on the problems of representation, the role of the artist and the place of Art.

His understanding of the space of Art as properly the public space itself, aside of any epoch conditions or culture particularities, and worried about the modes of production of meaning and the strategies being used to bring art productions into public scene, Agut develops a complex and personal process of work which permits him to imbricate his esthetical project with his political attitude.

Pep Agut works on his projects unfolding his research over a wide range of media, techniques and concepts to submit to study the ideas interesting to him along large periods of time working on problems in relation to representation, language, architecture, etc.

After an arduous process of writing and overwriting any expressionistic narrative form is erased, and the artist can elaborate a complex index of generic models of work to structure his activities. It allows the projects to remain opened to further research and independent of any rigid notion of style while permitting the artist to withdraw of systematic production of the artefacts which would close the process of work.

Using the big amount of creative conceptual materials inventoried, Agut can replace any moment of his own artistic history to the present and display it as a site-specific answer to each exhibition opportunity. Once the necessary devices and structures are rebuild to articulate his work in the public space, his oeuvre remains opened generating a centrifugal dynamic which multiplies the access channels and expands the fields of relation with the audience.