And like the sand insecurities of warring political factions absorb and distracted the narrator from his gazing, observing, ruminating on the history of this eternal city.

This is a future Alexandria, where the water hyacinth, introduced during British colonial rule has taken over the Nile, and mythical animals are roaming the streets. Desert sand is constantly threatening to envelop the city. A

In Lost Gazes a text is retrieved from the sediments of history. An unknown narrator describes a changing landscape, both political and environmental.

Join us on May 2nd, at the Lab for a en evening of screenings and performances including a screening by Ryat Yezbick.
Image: Still from ABC News Report on the Columbine Mass shooting in 1999

Tatum Howey is a writer and doctoral candidate based in Los Angeles whose work circles around the political implications and potentials of risk. Both their writing and scholarship explore the de-individuation of risk, where risk is understood as the vulnerability of being in relation.

The essay is as much an investigation of the political stakes of contemporary research based films, as it is an account of the parallel development of cinematic technology and oil. Each of the works deals with the history of oil and what it means to work with its archival images today.

Join us on May 2nd, at the Lab SF for a en evening of screenings and performances including a reading by Tatum Howey.

Mushaandja analyzes themes and structure of this award-winning feature against the background of artistic works coming out of Namibia on the memory of history, particularly in dealing with Germany’s genocide on the Nama, Ovaherero and San people during its violent colonial rule.