Pedro Moreira is a queer multiracial artist whose work is contextualized within the language of creationism and its parallels with virtually terraformed landscapes such as videogames and social media, exploring the relationship between the idealization of virtual spaces and theological or mythological/utopian phenomenology. Using the method of world-building as a narrative tool, Moreira’s research materialises through their multidisciplinary practice in the form of videos, installations, performances, and sculptures, usually retaining some level of interactivity.

Recent exhibitions include: Sarau 2, Sarau, (Porto, 2022), aDrogaria, aSede (Porto, 2022), Ceramists of Porto for Ukraine, Kuri Kuri (Porto, 2022), Pouca Terra Muita Terra, CACE Cultural (Porto, 2022), Lunaria, Hangar, (Lisbon, 2021), Curva at CACE Cultural (Porto, 2021), Sarau (Porto, 2021) Generaciones (performer) at La Casa Encendida (Madrid, 2020), Polly’s Wood at Goleb (Amsterdam, 2019), Corpo(a)Terra (Ourense, 2019), A Ripple in Time a Footprint of Carbon (solo) at Nigredo Espacio (Madrid, 2019), Collectives Not Collections at Raven Row (London, 2019), Me Gustas Pixelad_ at La Casa Encendida (Madrid, 2019), Skeuomorph (solo) at Picnic Gallery (London, 2019), Hypermesh at Assembly Point (London, 2019), Un_Becoming at SomoS (Berlin, 2018), and Bored but Secured at Zone d’Utopie Temporaire (Lisbon, 2018).

Being an alumni comrade of the collective PACTO Research, Moreira has engaged in a variety of PACTO organized events such as: PACTO’s Pool Party at Public Pool Gallery (Los Angeles, 2019), This Will Take Time (Los Angeles, 2019) Collectives as Catalysts at Raven Row (London, 2019), PACTO, at 18 Malden Road (London, 2018), COMPACTO at Aarhus Center for Visual Art (Aarhus, 2018), and It’s Their Thought That Counts at Croydon Art Store (London, 2018).







Mark