Havana, Cuba, 1969. Cirenaica Moreira underwent her actor training at the Instituto Superior de Arte in Havana, Cuba, culminating in her graduation in 1992. She began her career in visual arts in 1994, essentially as a photographer. Over time, her work has opened up to other registers, to encompass installation, video, performance and sculpture. Among her most notable individual exhibitions are Ambivalence of the Imaginary Body (with Maíra Ortins, Jose Marti National Library, Havana, Cuba, 2013); Without Towers or Birches (11th Havana Biennial, La Cabaña Fortress, Havana, Cuba, 2012); Body Memories (with Adonis Flores. Chashama 217 Gallery, New York, 2011); Cowhide (Servando Gallery, Havana, Cuba, 2010); Sand Im Mund (Gedok Gallery, Munich, Germany, 2010); With the Instep to the Wrong Side (9th Havana Biennial, Miramar Trade Center, Havana, Cuba, 2006); Wet Dreams: Documentations and Memoirs (4th Salon of Contemporary Cuban Art, La Casona Gallery, Havana, Cuba, 2005); Letters From Inxile (La Casona Gallery, Havana, Cuba, 2002); Imaging the Spirit (with Albert Chong and Juan Carlos Alom. Boulder Museum of Contemporary Art, Boulder, Colorado, USA, 2001); Refrigerate After Opening (Gallery 106, Austin, Texas, USA, 2001); Metallic (Habana Gallery, Havana, Cuba, 1999); Lobotomy (Cuban Photographic Library, Havana, Cuba, 1997); and Eyes that saw you leave… (Espacio Abierto Gallery, Revolución y Cultura Magazine, Havana, Cuba, 1995).

Her work has been exhibited at the National Geographic Magazine Seminar (Washington DC); ARCO (Madrid) and Metropolitan Pavilion (NY). She often works with the Couturier Gallery (Los Angeles); Alida Anderson Projects (Washington DC); Co Galería de Arte (Santiago de Chile); Gedok Gallery (Munich) and Servando Galería de Arte (Havana). Also has been displayed in museums and institutions around the world, such as the Space for Contemporary Art, Beijing, China; the Claramatte Parkhouse, Basel, Switzerland; the Excelencias Cultural Space, Madrid, Spain; the Convention Center, Miami Beach, Florida, USA; the Musee Quai du Branly, Paris, France; the Clairefontaine Gallery, Luxemburg, and the Kunsthalle, Aterres, Austria. Her works are also part of many important institutional and private collections. She lives and works in Miami.

Through the female body, and its (re)presentation in images of dismay, of expectancy, sometimes of inquiry, which retain their exhilarating resolve for humour and irony, Moreira evokes, in the first person singular, a world of suffocating and implausible daily occurrences, at the heart of which sex and death are indelibly inscribed, fighting to break the silence and composure of the image and make it explode. The allusions to the daily and the domestic are reinforced through the clothing and accessories in which it is shrouded, which she herself manufactures or recycles in the way of inherited female traditions, thereby placing her artistic discourse within a vein of genre that draws on the legacy of vocational theatre. It is in the gesture, halted at a point of significant maximum tension, and draped in symbols that underline the darkest latencies, that the agonizing lack of knowledge of one’s own identity and the lurking pressure of mystery emerge.

Extract from the text taken from the artist's presentation on the Re-Action project page, premiered simultaneously at the University of Oviedo/Museo Barjola (Oviedo/Gijón 2015) and was showcased for the second time at the Main Floor of Casal Solleric (Palma, 2016). The project was sponsored by the University of Oviedo, the Department of Culture of the Government of the Principality of Asturias through the Museo Barjola, the Institut d'Estudis Baleàrics, the Palma Espai d'Art Foundation, the Department of Visual Arts of the University of Bologna, the Women's Library, and the Asocciazione Orlando.

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