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Each year, an expert panel is asked to select an innovative and boundary-breaking international artist to create a visionary new work for the Tanks, Tate Modern’s unique spaces dedicated to performance, installation and time-based art. This year’s jury has selected Zimbabwean artist, dancer and choreographer nora chipaumire, whose commission will be unveiled in June 2026.… Continue reading calendar

In an era when study, knowledge, and the role of the university as a place to gather are being questioned and queried, one could also ask: what about the artist as guest in these fundamental institutions? What is expected from them, what should their role be? How does the artist enhance the interrogations and make… Continue reading calendar

In an era when study, knowledge, and the role of the university as a place to gather are being questioned and queried, one could also ask: what about the artist as guest in these fundamental institutions? What is expected from them, what should their role be? How does the artist enhance the interrogations and make… Continue reading calendar

In an era when study, knowledge, and the role of the university as a place to gather are being questioned and queried, one could also ask: what about the artist as guest in these fundamental institutions? What is expected from them, what should their role be? How does the artist enhance the interrogations and make… Continue reading calendar

With workshops, discussions, art, and research! Celebrate the opening of the international research center + the launch of the edited collection Facing Drag! 3 PM,  December 11, 2025  nora chipaumire | #PUNK (2020) DOC version: 35 min & Afropromo  Film-Screenings & Artist Talk with Isabel Lewis (Vienna)

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

Dambudzo is a bold, anti-genre collapse of sound, painting, sculpture, and performance. In Shona, dambudzo means “trouble,” and it is also the name of Zimbabwean writer Dambudzo Marechera, who, along with other radical African thinkers, inspires nora’s exploration of the relationship between knowledge and language shaped under colonial rule. A glorious celebration of radical African presences, Dambudzo shatters clichés, defies conventions, and opens new spaces that transcend the limitations of language, while the artists are embodying more subtle ways of communicating and being together.

This work was - is provoked by a refusal to participate in “retrospective“ activities. now - nowness - live - liveness - as the only possible options have led me to this preoccupation — as all our experiences become muscle; breath, footfall, backbend — and knowledge is shared through proximity to other bodies. the word acontinua - is a celebration of Andre Lepecki‘s continued work with liberatory choreographies as well and my personal dedication to the thinkers Eduardo Mondale (1920-1969), the Zapatistas, and all the unsung women without whom change is impossible — nora chipaumire (2025)

This work was - is provoked by a refusal to participate in “retrospective“ activities. now - nowness - live - liveness - as the only possible options have led me to this preoccupation — as all our experiences become muscle; breath, footfall, backbend — and knowledge is shared through proximity to other bodies. the word acontinua - is a celebration of Andre Lepecki‘s continued work with liberatory choreographies as well and my personal dedication to the thinkers Eduardo Mondale (1920-1969), the Zapatistas, and all the unsung women without whom change is impossible — nora chipaumire (2025)

This work was - is provoked by a refusal to participate in “retrospective“ activities. now - nowness - live - liveness - as the only possible options have led me to this preoccupation — as all our experiences become muscle; breath, footfall, backbend — and knowledge is shared through proximity to other bodies. the word acontinua - is a celebration of Andre Lepecki‘s continued work with liberatory choreographies as well and my personal dedication to the thinkers Eduardo Mondale (1920-1969), the Zapatistas, and all the unsung women without whom change is impossible — nora chipaumire (2025)

This work was - is provoked by a refusal to participate in “retrospective“ activities. now - nowness - live - liveness - as the only possible options have led me to this preoccupation — as all our experiences become muscle; breath, footfall, backbend — and knowledge is shared through proximity to other bodies. the word acontinua - is a celebration of Andre Lepecki‘s continued work with liberatory choreographies as well and my personal dedication to the thinkers Eduardo Mondale (1920-1969), the Zapatistas, and all the unsung women without whom change is impossible — nora chipaumire (2025)