Tânia Dinis
(Vila Nova de Famalicão, Portugal) is a visual artist, filmmaker and performer whose practice brings together documentary and fictional approaches with a strong experimental and collaborative dimension. Currently pursuing a PhD in Fine Arts at the Faculty of Fine Arts of the University of Porto (FBAUP), where a Master’s degree in Contemporary Artistic Practices was completed in 2015. Holds a BA in Theatre Studies from ESMAE (2006) and attended workshops at Cuba’s EICTV in Cinematic Creation from Family Memory (2020).
Short films — Tão pequeninas, tinham o ar de serem já crescidas (2024), Catraias (2023), Laura (2017), Teresa (2017), Arco da Velha (2015), Não são favas, são feijocas (2013), among others — have been awarded and screened at festivals such as IndieLisboa, MDOC, MICE, Porto/Post/Doc, Curtas Vila do Conde and the Archive Film Festival in Brazil. Distinctions include Best Portuguese Short Film (IndieLisboa), Best Documentary (Melgaço), Audience Award (MICE) and several international awards (Brazil, Germany, USA).
In performance and visual art, works developed include Álbuns de Guerra, Operariada, Elas entram e ficam!, Sempre – histórias de liberdade, Luas Novas, Memoratório and Viajar no tempo dos outros. Exhibitions have taken place at institutions such as CAAA – Guimarães, Solar Galeria de Arte Cinemática, RAMPA, Museu Soares dos Reis, Galeria Dínamo and Fórum Macau, as well as at festivals including Proyector Videoarte Madrid and the Biennial of Cerveira. Artist residencies include CAMPUS Paulo Cunha e Silva (2024), A Gráfica Setúbal (2022), PACT – A Oficina (2019–2021) and Curtas CRL (2020).
Work is held in the Contemporary Art Collection of the Municipality of Porto (Arco da Velha, 2015) and in the holdings of the Harvard University Library (Não são favas, são feijocas, 2013). Teaching includes positions as Assistant Professor in Theatre and Performing Arts at the University of Minho and in Film and Theatre at ESAP. Conferences, seminars and lectures have been presented at institutions such as UMSA (Argentina), S8 – Peripheral Film Festival (Spain), Cineclube da Guarda and MIRA Artes Performativas, among others. Jury service includes several national and international festivals.
Publications include essays and book chapters in volumes and catalogues such as Viagem magnífica. Chegamos bem, 50 ABRIS, Mosaicos Sino-Lusófonos, Atlas de um cinema amador and Os Cadernos da Pandemia, among others. Artistic mediation workshops and educational programmes have been developed with Teatro Nacional D. Maria II, GNRATION, Braga Media Arts, MAP Bonfim, CIRCOLANDO, Porto/Post/Doc and FFFilms.
Short films — Tão pequeninas, tinham o ar de serem já crescidas (2024), Catraias (2023), Laura (2017), Teresa (2017), Arco da Velha (2015), Não são favas, são feijocas (2013), among others — have been awarded and screened at festivals such as IndieLisboa, MDOC, MICE, Porto/Post/Doc, Curtas Vila do Conde and the Archive Film Festival in Brazil. Distinctions include Best Portuguese Short Film (IndieLisboa), Best Documentary (Melgaço), Audience Award (MICE) and several international awards (Brazil, Germany, USA).
In performance and visual art, works developed include Álbuns de Guerra, Operariada, Elas entram e ficam!, Sempre – histórias de liberdade, Luas Novas, Memoratório and Viajar no tempo dos outros. Exhibitions have taken place at institutions such as CAAA – Guimarães, Solar Galeria de Arte Cinemática, RAMPA, Museu Soares dos Reis, Galeria Dínamo and Fórum Macau, as well as at festivals including Proyector Videoarte Madrid and the Biennial of Cerveira. Artist residencies include CAMPUS Paulo Cunha e Silva (2024), A Gráfica Setúbal (2022), PACT – A Oficina (2019–2021) and Curtas CRL (2020).
Work is held in the Contemporary Art Collection of the Municipality of Porto (Arco da Velha, 2015) and in the holdings of the Harvard University Library (Não são favas, são feijocas, 2013). Teaching includes positions as Assistant Professor in Theatre and Performing Arts at the University of Minho and in Film and Theatre at ESAP. Conferences, seminars and lectures have been presented at institutions such as UMSA (Argentina), S8 – Peripheral Film Festival (Spain), Cineclube da Guarda and MIRA Artes Performativas, among others. Jury service includes several national and international festivals.
Publications include essays and book chapters in volumes and catalogues such as Viagem magnífica. Chegamos bem, 50 ABRIS, Mosaicos Sino-Lusófonos, Atlas de um cinema amador and Os Cadernos da Pandemia, among others. Artistic mediation workshops and educational programmes have been developed with Teatro Nacional D. Maria II, GNRATION, Braga Media Arts, MAP Bonfim, CIRCOLANDO, Porto/Post/Doc and FFFilms.
