This film is part of the exhibition Shoreline Movements, a program of non-fiction films curated by Erika Balsom and Grégory Castéra (Council), in a space designed by Daniel Steegmann Mangrané, for the Taipei Biennial 2020.

To create the disorienting experience of Lagos Island, Karimah Ashadu built what she calls a “camera wheel mechanism”: made from found objects and inspired by the carts workers use to transport goods in Lagos, it is a contraption that holds her digital camera, enabling it to roll down the shore, endlessly changing perspective. Sand trades places with sky at variable speeds; all stable coordinates give way to flux. As the camera wheel passes the temporary settlements of migrants – soon to be torn down by the municipal authorities – this bricolage screeches and creeks, never ceasing to remind of the friction that undergirds its mobility. Ashadu refuses the detached stability that typically characterizes the camera’s gaze, insisting rather that the machine is an embedded part of a terrain subject to constant change.