Edition of 150 copies with one of five original prints, numbered and signed in pencil by Miquel Barceló

A bibliophile edition inspired by Barceló’s most important artistic challenge to date: the creative process of the dome of the Human Rights and Alliance of Civilizations Room of the United Nations headquarters in Geneva.

Each of the 150 copies contains a print that has been numbered and signed by Miquel Barceló, extracts from the logbook that the artist kept throughout the creative process, a catalogue of tools that includes all the utensils and material used in the project, and a collection of postcards of the caves of Drach and Artà, a source of inspiration to the great artist.

It includes a prologue by the prestigious writer and academic Pere Gimferrer.

Technical Information


  • Cardboard case bound in natural grey papyrus stamped in black
  • 69 × 83 × 3cm
  • Photographs from the Cuyàs Archive at the Cartographic Institute of Catalonia
  • 10 x 15 cm
  • Series of 7 fan-folded postcards
  • Grey cardboard cover stamped in black
  • Edition in Catalan, Spanish and English
  • Poem by Pere Gimferrer
  • Text by Eudald Guillamet
  • Photographs by Agustí Torres
  • 15 x 22 cm
  • 40 pages printed in 4 colours
  • Grey cardboard cover stamped in black
  • Edition in Catalan, Spanish and English
  • Selection of pages from the logbook
  • Texts by Pere Gimferrer
  • Photographs by Agustí Torres
  • 33 x 46 cm
  • 40 pages in unstitched 8-page sheets
  • 260g Modigliani Insize paper printed in 4 colours
  • 60g grey cardboard cover stamped in black
  • Suite of 5 prints for The Sea of Geneva
  • Paper: 270g Rives, 68 × 82cm
  • Print run of 30 copies, numbered and signed by the author
  • Signed “Barceló” in pencil in the bottom right-hand corner
  • Numbered in pencil in the bottom left-hand corner

Miquel Barceló offers us here the material tools of his labours in Geneva and, conversely, some of the sketches he made as the work progressed, that reveal him stubbornly ever more gorilla and astronaut like, confronting the twin obsessions from the sea floor (chasms and peaks) and huge faces of deep sea fish; and finally, by way of corollary, when the cycle is at end, the present etchings that imitate and at once re-work, stylise and even project into a different space, towards a new absolute, the chromatic gains and tonalities of the underwater fauna and flora of the cupola that is now firmly in place.”

Pere Gimferrer, foreword from the El mar de Ginebra Logbook.