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Dispatch from Gaza: Hind Khoudary
Hind Khoudary: Marhaba! (Hello) Let me show you where I am right now: I’m on a rooftop because it’s very hot and we don’t have any electricity, so this is the only way we can get some fresh air. I’m displaced in Deir al Balah right now and I have been displaced since November.
EIP: You said that it’s 8pm right now and that you’re on a rooftop; can you describe where you are and what it looks like and what it feels like and what you smell and take us to Gaza for a second?
HIND: So the main reason we’re on this rooftop is because this is the house of Motaz Al Azaiza, our colleague, who is hosting a group of journalists and friends at his house because we were displaced. He’s originally from Der El Balach.
After Motaz left, we stayed in his house. We’re a group of friends and journalists who have been covering this together since day one and have been displaced together. It’s our support system; we report in the morning and then we sit down and watch the sunset—here, I’ll show you the sunset— watching it is something I do every single day because it’s the only thing that keeps me going and revives my soul. We have not been eating for the past couple of weeks, especially after the Rafah invasion. No food is coming in, so every single day at this time we start searching for food. We ate noodles for the first week and then we started eating bread with cheese from another supermarket that started making dairy like cheese, goat cheese and lebneh.
The boys went grocery shopping and then we’re going to start eating in the next hour. We report all day and then just hang out here at night because it’s the only thing we can do. We can’t go out; we don’t have anywhere safe. Anything could happen any minute, so we try to find calmness and peace in those times where we’re sitting and not doing anything.
I think I’ve been dehydrated the past couple of months, which is so hard in the summer. We don’t drink a lot of water not only because we can’t find drinking water, but because there’s no access to bathrooms, we try not to eat or drink as much as possible. These are very small details that we don’t really say when we’re reporting, but it’s not just reporting this, but about living it and I think this is the hardest part.
I have been away from my family for for eight months now. They all left Gaza because it was unbearable for them to stay and they had the opportunity to leave so they left. I’m the only person who stayed in Gaza and I feel so sad, and so homesick. I miss my family. I miss my husband. I miss everything before October 7 actually.
EIP: Can you take us to that moment? Maybe it was October 7th, or maybe it was a few weeks later, but those first few weeks where this happened; where were you? What were you doing? What were the conversations?
HIND: On October 7, I was at home. I didn’t do any reporting; I was just shocked, you know? Then I went out reporting on the third day of this war because I’m a freelance journalist so I didn’t know who I wanted to work with or what I was gonna do. I didn’t know what was happening— no one did. I lived with my husband in Istanbul for the past four years, and we chose to settle back in Gaza in August. We shipped everything— we brought all our furniture and everything from Istanbul, so we were shocked that this happened.
Since the second or third day, when I started reporting, I did not see my family for an entire hour. I used to grab some moments with them, but, for example, my mom traveled without me seeing her. My husband traveled when I was in the north and he was in the south. There was no way to evacuate, so he left without me seeing him. My mom, the same thing. I was only able to see my brothers before they left. But it was very hard.
I left the house not thinking that I would never go back. I remember taking a t-shirt and a pair of jeans and that’s it, you know? I always thought that I’d go back home — and in the first couple of weeks I did go back home, but every time I went home, I never thought ‘okay, this is it.’ The last time I left, I took a couple of socks and a couple more t -shirts, because I felt like I was going to be stationed in another place. That was the last time I went home, and then when I evacuated south, I found this random Instagram reel, where I saw my house bombed. Khalas, ya3ni. It’s not there anymore. That’s when I started reminding myself, ‘okay, so I don’t have anything to wear. I don’t have a closet. I don’t have anything left. All I have right now is my phone and my laptop.
EIP: You saw it on a reel? You were just on the internet, and that’s how you found out?
HIND: Exactly. I never imagined that this is how I’d know that my house was bombed. I cried so much that day. I remember my heart crying, it was so painful, because it’s something my father built, and my father passed away in 2012, and it was the only thing that reminds me of him.
Since then, every time I go to a place, and it’s wiped off and reduced to rubble, I remember the house, and I remember that I’m not even able to go and see my house —even if it was just rubble— because we’re not allowed to go there.
It’s a cycle of violence, a cycle of heartaches and heartbreaks. But at the same time, I continue to report because I feel like people need to know what’s going on, but it’s not easy. There were a couple of times that I was mentally collapsing and physically collapsing and emotionally collapsing— it’s not easy, it’s very hard but I need to do this.
EIP: Do you remember the last conversation you had with your husband when he was still in Gaza? What was going through your head when you talked last?
HIND: laughing I think we were fighting about the fact that he didn’t want me to report and go to the field because he was terrified. He found me in the middle of a battlefield, like literally in the middle of a battlefield, and he could not do anything about it. I’m a very stubborn person, and of course you wouldn’t like your partner to be in the middle of airstrikes and bombs and everything. He was terrified. That was the last conversation we had, that I wanted to go report and this was it. I remember the last time I saw him in Gaza, I wanted to visit him and it had been a month without seeing him. This was November and I went to see him and hug him, then we learned one of our best friends was killed. I literally had only an hour to see him before my friend was going to pick me up to go back to the office. I spent the hour crying with him and then I went back to the office.
Even having time to enjoy with the people close to you, you can’t because you’re overwhelmed with everything going on. We lost a lot of dear people, you know? It’s very hard and I think we did not have time to grieve, and to express or process the amount of loss. This is all going to start showing in the next few years because we have been squeezed emotionally—we’re trapped. I’m very happy that my family is not here because I won’t feel worried about them. I won’t feel like anything’s going to hurt them. This is the only thing that’s giving me a little bit of comfort, let’s say.
EIP: This all seems so intense and I’m a journalist and have never even come close to covering something like this. What is a day in the life for you in terms of your job? Like, how do you choose which sort of event to cover?
HIND: It depends. For example, a couple of days ago, it was 5am when my colleagues woke me up, like ‘Hind, they [Israel] targeted a UN school.’ There’s no coffee, there’s no wake up, there’s no ‘wash your face’, there’s no ‘comb your hair’— nothing. You just start running.
Even now as I’m talking to you, there could be some huge explosion or a huge event and I’d leave you and go. I don’t ever remember choosing what to cover. It comes to you. You don’t choose it; it happens, you go there, you start reporting and this is how it works.
EIP: Do you have any sort of anecdotes or memories or stories of people that come to mind?
HIND: My uncle. My cousin. My friend— my friends. The people I used to hang out with— like shisha hangouts every night— they were killed. My uncle, when we had Eid Al Adha in Ramadan, used to call me, I used to call him. We used to gather. He’s not there. My uncle was killed in the Al Shifa operation, and I remember that they said that he was killed, but they do not know where or how, then there was a photo circulating on social media of people killed in the Al Shifa operation, and I zoomed into the picture, like ‘This looks like my uncle! Is that him? No, no no, it’s not him.’ After they withdrew from the area, my mom was like this photo is your uncle, and I see him killed laying on the floor and on his lap is my cousin, and beside him is his sister in law, and a group of people. This is my uncle. Now every time I see people killed I don’t look at the photos; I don’t want to recognize anyone.
EIP: Do you get a chance to talk about this with the people you’re working with, or the friends you’re living with?
HIND: All the time when we’re sitting together on the rooftop, we ask, ‘okay, so if we get an airstrike what’s gonna happen?’ I had this conversation yesterday with one of my friends, who said, ‘No, maybe you’re gonna fly to another street, ‘ and I’m like ‘Okay, but are we gonna hear anything if it happens? Then I’m like ‘no no it’s not gonna happen.’ We’re traumatized, and all of these scenes and all of these memories come to you every single time.
I remember when we were in the office back in Gaza City, I always had a bottle of water with me because if anything happened and the building was bombed, I wanted to have some water with me. Many civilians were trapped under the rubble, but I could have sips of water and I could live more. That’s how I used to think.
Every time you see someone, bil sudfa (by coincidence) in the market or something, we do not recognize each other. Everyone’s pale, everyone lost a lot of weight, everyone’s sad and overwhelmed. It’s so heartbreaking actually.
EIP: You kind of mentioned it before, but I’d like to go into it a little more. What is the reason you stayed? What is the importance of being a journalist in Gaza in this moment?
HIND: The first thing is the fact of loving Gaza itself. Like, I’m in love with Gaza. Like, everyone knows that and always tells me, enti bint Gazeh (you are a daughter of Gaza) I’m a Gazzeweya, as in I’m originally a Gazan. I’m so connected to this place; I’m connected to the sea. I’m connected to the sky, I’m connected to the people, to the clouds, to everything. When I was away in Istanbul, I used to tell my husband every single day, ‘I want to go back to Gaza’. Every single day, ‘I want to go back. I want to go back.’
So, the thing that’s making me report is my connection to Gaza. The second thing is that I wanted to report about Gaza and about the Gazan people. I always wanted to uplift their voice.
The third thing is when people interact and are engaging with everything we’re doing, and the amount of solidarity we’re receiving, it really gives us a very big push to keep going.
I think these are the three main reasons. The biggest reason is to continue the journey of our fellows that were killed by the Israeli forces.
I remember posting and then going to report or posting something and then not having internet connection, then when we opened our Instagrams, and saw the amount of engagement and the amount of interaction and the amount of followers we received, we were shocked, to be honest.
I never imagined that a fifteen second video would really change people’s thinking and how they perceive it [the situation]. For me, I tried to do very short videos or talk on Instagram very normally and naturally [candidly]. I never overthought what I wanted to say and I think that was the reason why I really connected to the people. It’s because I’m a very normal person; I’m just saying what’s happening, you know? When we found people were really talking about us, like if you had no internet for one day, you’d find people asking about you.
We found how important it was; people are not relying on news outlets and TVs anymore, they’re relying on us and that’s where the responsibility increased, we found that we had weight on our shoulders. We have to write, we have to report, we have to tweet. We’re the source for a lot of people. There has been a very big impact and the reason, the main thing is, Gazan journalists were able to be the voice, and despite the fact that no foreign journalists or international journalists are coming in, we’re doing a great job.
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{
"article":
{
"title" : "Dispatch from Gaza: Hind Khoudary",
"author" : "Hind Khoudary",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/dispatch-from-gaza-hind-khoudary",
"date" : "2024-08-30 12:05:00 -0400",
"img" : "https://everythingispolitical.com/uploads/2024_EIP_Hind_Khoudary_Quote_S1.jpg",
"excerpt" : "",
"content" : "Hind Khoudary: Marhaba! (Hello) Let me show you where I am right now: I’m on a rooftop because it’s very hot and we don’t have any electricity, so this is the only way we can get some fresh air. I’m displaced in Deir al Balah right now and I have been displaced since November.EIP: You said that it’s 8pm right now and that you’re on a rooftop; can you describe where you are and what it looks like and what it feels like and what you smell and take us to Gaza for a second?HIND: So the main reason we’re on this rooftop is because this is the house of Motaz Al Azaiza, our colleague, who is hosting a group of journalists and friends at his house because we were displaced. He’s originally from Der El Balach.After Motaz left, we stayed in his house. We’re a group of friends and journalists who have been covering this together since day one and have been displaced together. It’s our support system; we report in the morning and then we sit down and watch the sunset—here, I’ll show you the sunset— watching it is something I do every single day because it’s the only thing that keeps me going and revives my soul. We have not been eating for the past couple of weeks, especially after the Rafah invasion. No food is coming in, so every single day at this time we start searching for food. We ate noodles for the first week and then we started eating bread with cheese from another supermarket that started making dairy like cheese, goat cheese and lebneh.The boys went grocery shopping and then we’re going to start eating in the next hour. We report all day and then just hang out here at night because it’s the only thing we can do. We can’t go out; we don’t have anywhere safe. Anything could happen any minute, so we try to find calmness and peace in those times where we’re sitting and not doing anything.I think I’ve been dehydrated the past couple of months, which is so hard in the summer. We don’t drink a lot of water not only because we can’t find drinking water, but because there’s no access to bathrooms, we try not to eat or drink as much as possible. These are very small details that we don’t really say when we’re reporting, but it’s not just reporting this, but about living it and I think this is the hardest part.I have been away from my family for for eight months now. They all left Gaza because it was unbearable for them to stay and they had the opportunity to leave so they left. I’m the only person who stayed in Gaza and I feel so sad, and so homesick. I miss my family. I miss my husband. I miss everything before October 7 actually.EIP: Can you take us to that moment? Maybe it was October 7th, or maybe it was a few weeks later, but those first few weeks where this happened; where were you? What were you doing? What were the conversations?HIND: On October 7, I was at home. I didn’t do any reporting; I was just shocked, you know? Then I went out reporting on the third day of this war because I’m a freelance journalist so I didn’t know who I wanted to work with or what I was gonna do. I didn’t know what was happening— no one did. I lived with my husband in Istanbul for the past four years, and we chose to settle back in Gaza in August. We shipped everything— we brought all our furniture and everything from Istanbul, so we were shocked that this happened.Since the second or third day, when I started reporting, I did not see my family for an entire hour. I used to grab some moments with them, but, for example, my mom traveled without me seeing her. My husband traveled when I was in the north and he was in the south. There was no way to evacuate, so he left without me seeing him. My mom, the same thing. I was only able to see my brothers before they left. But it was very hard.I left the house not thinking that I would never go back. I remember taking a t-shirt and a pair of jeans and that’s it, you know? I always thought that I’d go back home — and in the first couple of weeks I did go back home, but every time I went home, I never thought ‘okay, this is it.’ The last time I left, I took a couple of socks and a couple more t -shirts, because I felt like I was going to be stationed in another place. That was the last time I went home, and then when I evacuated south, I found this random Instagram reel, where I saw my house bombed. Khalas, ya3ni. It’s not there anymore. That’s when I started reminding myself, ‘okay, so I don’t have anything to wear. I don’t have a closet. I don’t have anything left. All I have right now is my phone and my laptop.EIP: You saw it on a reel? You were just on the internet, and that’s how you found out?HIND: Exactly. I never imagined that this is how I’d know that my house was bombed. I cried so much that day. I remember my heart crying, it was so painful, because it’s something my father built, and my father passed away in 2012, and it was the only thing that reminds me of him.Since then, every time I go to a place, and it’s wiped off and reduced to rubble, I remember the house, and I remember that I’m not even able to go and see my house —even if it was just rubble— because we’re not allowed to go there.It’s a cycle of violence, a cycle of heartaches and heartbreaks. But at the same time, I continue to report because I feel like people need to know what’s going on, but it’s not easy. There were a couple of times that I was mentally collapsing and physically collapsing and emotionally collapsing— it’s not easy, it’s very hard but I need to do this.EIP: Do you remember the last conversation you had with your husband when he was still in Gaza? What was going through your head when you talked last?HIND: laughing I think we were fighting about the fact that he didn’t want me to report and go to the field because he was terrified. He found me in the middle of a battlefield, like literally in the middle of a battlefield, and he could not do anything about it. I’m a very stubborn person, and of course you wouldn’t like your partner to be in the middle of airstrikes and bombs and everything. He was terrified. That was the last conversation we had, that I wanted to go report and this was it. I remember the last time I saw him in Gaza, I wanted to visit him and it had been a month without seeing him. This was November and I went to see him and hug him, then we learned one of our best friends was killed. I literally had only an hour to see him before my friend was going to pick me up to go back to the office. I spent the hour crying with him and then I went back to the office.Even having time to enjoy with the people close to you, you can’t because you’re overwhelmed with everything going on. We lost a lot of dear people, you know? It’s very hard and I think we did not have time to grieve, and to express or process the amount of loss. This is all going to start showing in the next few years because we have been squeezed emotionally—we’re trapped. I’m very happy that my family is not here because I won’t feel worried about them. I won’t feel like anything’s going to hurt them. This is the only thing that’s giving me a little bit of comfort, let’s say.EIP: This all seems so intense and I’m a journalist and have never even come close to covering something like this. What is a day in the life for you in terms of your job? Like, how do you choose which sort of event to cover?HIND: It depends. For example, a couple of days ago, it was 5am when my colleagues woke me up, like ‘Hind, they [Israel] targeted a UN school.’ There’s no coffee, there’s no wake up, there’s no ‘wash your face’, there’s no ‘comb your hair’— nothing. You just start running.Even now as I’m talking to you, there could be some huge explosion or a huge event and I’d leave you and go. I don’t ever remember choosing what to cover. It comes to you. You don’t choose it; it happens, you go there, you start reporting and this is how it works.EIP: Do you have any sort of anecdotes or memories or stories of people that come to mind?HIND: My uncle. My cousin. My friend— my friends. The people I used to hang out with— like shisha hangouts every night— they were killed. My uncle, when we had Eid Al Adha in Ramadan, used to call me, I used to call him. We used to gather. He’s not there. My uncle was killed in the Al Shifa operation, and I remember that they said that he was killed, but they do not know where or how, then there was a photo circulating on social media of people killed in the Al Shifa operation, and I zoomed into the picture, like ‘This looks like my uncle! Is that him? No, no no, it’s not him.’ After they withdrew from the area, my mom was like this photo is your uncle, and I see him killed laying on the floor and on his lap is my cousin, and beside him is his sister in law, and a group of people. This is my uncle. Now every time I see people killed I don’t look at the photos; I don’t want to recognize anyone.EIP: Do you get a chance to talk about this with the people you’re working with, or the friends you’re living with?HIND: All the time when we’re sitting together on the rooftop, we ask, ‘okay, so if we get an airstrike what’s gonna happen?’ I had this conversation yesterday with one of my friends, who said, ‘No, maybe you’re gonna fly to another street, ‘ and I’m like ‘Okay, but are we gonna hear anything if it happens? Then I’m like ‘no no it’s not gonna happen.’ We’re traumatized, and all of these scenes and all of these memories come to you every single time.I remember when we were in the office back in Gaza City, I always had a bottle of water with me because if anything happened and the building was bombed, I wanted to have some water with me. Many civilians were trapped under the rubble, but I could have sips of water and I could live more. That’s how I used to think.Every time you see someone, bil sudfa (by coincidence) in the market or something, we do not recognize each other. Everyone’s pale, everyone lost a lot of weight, everyone’s sad and overwhelmed. It’s so heartbreaking actually.EIP: You kind of mentioned it before, but I’d like to go into it a little more. What is the reason you stayed? What is the importance of being a journalist in Gaza in this moment?HIND: The first thing is the fact of loving Gaza itself. Like, I’m in love with Gaza. Like, everyone knows that and always tells me, enti bint Gazeh (you are a daughter of Gaza) I’m a Gazzeweya, as in I’m originally a Gazan. I’m so connected to this place; I’m connected to the sea. I’m connected to the sky, I’m connected to the people, to the clouds, to everything. When I was away in Istanbul, I used to tell my husband every single day, ‘I want to go back to Gaza’. Every single day, ‘I want to go back. I want to go back.’So, the thing that’s making me report is my connection to Gaza. The second thing is that I wanted to report about Gaza and about the Gazan people. I always wanted to uplift their voice.The third thing is when people interact and are engaging with everything we’re doing, and the amount of solidarity we’re receiving, it really gives us a very big push to keep going.I think these are the three main reasons. The biggest reason is to continue the journey of our fellows that were killed by the Israeli forces.I remember posting and then going to report or posting something and then not having internet connection, then when we opened our Instagrams, and saw the amount of engagement and the amount of interaction and the amount of followers we received, we were shocked, to be honest.I never imagined that a fifteen second video would really change people’s thinking and how they perceive it [the situation]. For me, I tried to do very short videos or talk on Instagram very normally and naturally [candidly]. I never overthought what I wanted to say and I think that was the reason why I really connected to the people. It’s because I’m a very normal person; I’m just saying what’s happening, you know? When we found people were really talking about us, like if you had no internet for one day, you’d find people asking about you. We found how important it was; people are not relying on news outlets and TVs anymore, they’re relying on us and that’s where the responsibility increased, we found that we had weight on our shoulders. We have to write, we have to report, we have to tweet. We’re the source for a lot of people. There has been a very big impact and the reason, the main thing is, Gazan journalists were able to be the voice, and despite the fact that no foreign journalists or international journalists are coming in, we’re doing a great job."
}
,
"relatedposts": [
{
"title" : "Mamdani & The Era of Possibilities",
"author" : "Collis Browne, Céline Semaan, EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/mamdani-and-the-era-of-possibilities",
"date" : "2026-01-01 12:25:00 -0500",
"img" : "https://everythingispolitical.com/uploads/zohran-inauguration-1.jpg",
"excerpt" : " What wins elections? Laser focus on challenging the brutal economic oppression that defines our global reality.",
"content" : " What wins elections? Laser focus on challenging the brutal economic oppression that defines our global reality.There is an air of undeniable hope. No matter how hard the knee-jerk catastrophic thinking might try to override with doubt, the moment is hopeful. This is proof of collective power. No matter what comes of it, we are already in a winning moment, because the people of New York city have toppled a dynasty built on greed and corruption. The entire world was inspired by this moment that was made possible by everyday people rallying together. That is how monopoly gets interrupted by people power. It’s not rocket science or AI, it’s sweat, effort, and in person collaboration.Let’s remember why this landslide engagement across political divides, why this excitement from communities and demographics who have never voted, and why this worldwide inspiration from a local election: it is a direct response to Mamdani’s laser focus on challenging the brutal economic oppression that defines our global reality.That is what wins elections; that is what inspires and unites the majority across age, ethnicity, race, and all other factors. Speaking the truth of the crushing economic reality that we live under.So now, resist the urge to follow the media’s double edge sword to fetishize and make individualized mythologies around Mamdani, his wife, the personal and aesthetic choices they are making. But continue to see them simply as people, continue to join forces with them and to remain educated, informed and most importantly not in silo but in community. Realize that we need thousands more like him who have decided that they can make a better mayor than these corrupt relics of the antiquated self-destructive past, and we need millions to always raise them up against those colluding with oligarchic corruption. And when the inevitable “fall from grace” comes, when the “media darling” moment wants to swing the other way and vilify him, resist the urge to jump on and make him any more important than but one human who wanted to make a difference in a dehumanizing system — focus on the system.Resist the urge to join in a culture war, to focus on religion or lifestyle or taste or how we spend our time as non-billionaires, and remain focused on what we can all be doing daily to gather power away from the centers of wealth and exploitation.Resist the urge to isolate in ideals, instead join the messy moment of change by being an active participant in the political spaces you wish existed.The moment calls for more action. This year, 2026, begins a new cycle filled with possibilities and people power. The moment is you. It is now. Continue to be present, be active, and take your place in making the future possible. Being an active part of your world is the antidote to the overwhelming feeling of disempowerment. The ways in which we rise, is through verbs and action. Excited to build with you all internationally and locally here in New York City. Our city."
}
,
{
"title" : "Narrative Sovereignty in the American Wing of The Met: Don't Miss ENCODED at the MET",
"author" : "",
"category" : "",
"url" : "https://everythingispolitical.com/readings/narrative-sovereignty-in-the-american-wing-of-the-met",
"date" : "2025-12-22 12:58:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Hidden_Exhibition.jpg",
"excerpt" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.",
"content" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.The American Wing is often described as a celebration of American art, yet it also functions as a carefully curated archive of colonial mythology and westward expansion propaganda. Its paintings and sculptures rehearse familiar narratives: conquest framed as destiny, extraction framed as progress, whiteness framed as purity, Indigenous absence framed as inevitability. These works are not merely historical artifacts; they are instruments of narrative power. They encode ideas about belonging, legitimacy, and nationhood, ideas that continue to shape cultural consciousness and public policy today. ENCODED intervenes in this institutional space not to negate history, but to complicate it. Using augmented reality, the exhibition overlays Indigenous artistic expression and counter-narratives directly onto famous works in the American Wing, reframing them through Indigenous epistemologies, lived experience, and historical truth. This is not an act of erasure. It is an act of expansion and an overt insistence that American art history is incomplete without Indigenous voice, presence, and critique.At its core, ENCODED is grounded in the principle of narrative sovereignty. Narrative sovereignty asserts that communities most impacted by historical and ongoing harm such as Indigenous peoples, Afro-descendant people, Palestinians, Pacific Islanders, Trans folks and the working class all must have the authority to tell their own stories, in their own words, and within the institutions that have historically excluded or misrepresented them. This is not a symbolic gesture. It is a democratic imperative.Democracy depends on access to truth. When museums present a singular, sanitized vision of history, they do not merely reflect power, they reinforce it. The American Wing has long upheld myths of “taming the West” and the so-called exhaustion of empire, narratives that obscure the violence of settler colonialism, normalize Indigenous dispossession and chattel slavery. ENCODED challenges these myths by making visible what has been omitted: resistance, survival, continuity, solidarity and accountability. For me, I also hope this intervention reflects back to museum goers and viewers the perils of authoritarianism, fascism and ongoing colonial projects such as legacy media consolidation, rapid creation of datacenters to produce AI, cutting access to healthcare, education, rights, or the current US regime’s attempt to erase history by any means necessary.The artists participating in ENCODED are not responding nostalgically to the past. They are engaging the present. Their work examines how colonial narratives persist in contemporary systems including environmental destruction justified by extraction, racial hierarchies reinforced through cultural storytelling, and institutions that benefit from the aesthetics of inclusion while resisting structural change. These are not abstract critiques; they are lived realities and for me deep lessons that have been shaped by having formerly worked at a neocolonial conservation nonprofit ran by wealthy cis wyt men and their enablers for nearly five years.Artistic integrity, in this context, cannot be separated from ethical responsibility. For too long, the art world has upheld a false binary between aesthetics and politics, suggesting that rigor diminishes when artists engage power directly. ENCODED rejects this premise. Integrity is not neutrality. Integrity is the willingness to tell the truth, even when it destabilizes comfort or prestige. Walking with integrity can be painful and takes courage.Importantly, ENCODED is not positioned as a protest staged outside the institution, nor as a request for institutional validation. It is an act of presence with agency. The project uses accessible technology to meet audiences where they are, inviting participation rather than reverence. Viewers scan QR codes and encounter layered narratives that ask them to look again, listen differently, and question inherited assumptions. Except for a few organized tours, the experience is self-guided, decentralized, and deliberately democratic. It’s also fun, and it is so special to hear the familiar sounds from the ENCODED pieces ring throughout the galleries signalling that kin is close by.This kinship network and accessibility is central to the work. Cultural literacy should not be gated by academic language, curatorial authority, white exceptionalism or economic privilege. By operating through personal devices, ENCODED rejects the museum’s traditional hierarchy of knowledge and affirms that interpretation is a shared civic space. The exhibition does not dictate conclusions; it creates conditions for reckoning and deep dialogue.Solidarity is another foundational principle of the project. ENCODED brings together Indigenous artists across nations and disciplines, in relationship with Black, Brown, and allied communities who recognize that colonialism is not a single-issue structure. The logics that dispossessed Indigenous peoples are the same logics that underwrote slavery, environmental exploitation, the seizing of Palestine, forced child mining labor of cobalt in Congo and in general global empire. Working in solidarity does not collapse difference; it honors specificity while resisting division and acknowledging historic patterns of systemic oppression.In a cultural landscape shaped by scarcity and competition, ENCODED models an alternative, one rooted in collective presence, shared resources, and mutual accountability. The project refuses the extractive norms of both empire and the contemporary art economy, offering instead a relational approach grounded in care, collaboration, and long-term impact on community.The decision to situate ENCODED within the American Wing was deliberate. Indigenous art has too often been confined to anthropological contexts or framed as premodern, separate from the narrative of American art. ENCODED asserts what has always been true: Indigenous peoples are not peripheral to American history; we are foundational to it. Our stories do not belong on the margins, nor do they belong solely to the past or through a white gaze.Yet presence without counter-narrative risks assimilation. ENCODED insists that visibility must be accompanied by authorship. By intervening directly within the American Wing, the project challenges the authority of colonial framing and invites institutions to reckon with their role in shaping public memory. Our hope is that eventually the Met will see this as an opportunity to engage in discussion and support its presence well into 2026.There is risk in this work. Naming colonial propaganda within revered institutions invites discomfort, defensiveness, and critique. But risk is inseparable from integrity. Artists and cultural workers are accountable not only to institutions and audiences, but to future generations. The question is not whether institutions will change, but whether artists will continue to lead with courage when they do not.ENCODED is an offering and a provocation. It asks what it means to inherit a cultural legacy and whether we are willing to transform it. Empire is not exhausted; it is contested. And art remains one of the most powerful sites of that contestation. When we change the story, we do change the future. Not through erasure, but through expansion. Not through dominance, but through relationship.Ultimately, ENCODED affirms that art is not merely a reflection of society, but a tool for shaping it and that when artists from the margins claim space at the center, together and with integrity, we open pathways toward a more honest, inclusive, and democratic cultural future. Join us.To access ENCODED review the exhibit website for instructions. While at the Met scan the QR code and click through the prompts for the self guided tour.https://www.encodedatthemet.com"
}
,
{
"title" : "The Aesthetics of Atrocity: Lockheed Martin’s Streetwear Pivot",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/the-aesthetics-of-atrocity",
"date" : "2025-12-20 10:30:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Lockheed_StreetWar.jpg",
"excerpt" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.",
"content" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.Through a licensing deal with South Korea’s Doojin Yanghang Corp., Lockheed turns fighter jet graphics, corporate slogans, and its star logo into gorpcore staples. Oversized outerwear, tactical pants, and advanced synthetic fabrics sell out at Seoul pop-ups like the Hyundai department store with young Korean consumers chasing the edgy, functional vibe. Andy Koh, a Seoul-based content creator, tells BoF that while arms manufacturing is, in theory, political, he has never encountered widespread discomfort among Korean consumers. “As long as it looks cool and the product functions as expected,” he says, “they seem okay with it.”This trend aligns with a broader South Korean fashion phenomenon: licensing logos from global non-fashion brands to create popular streetwear lines. Examples include National Geographic puffers, Yale crewnecks, Kodak retro tees, CNN hoodies, Discovery jackets, Jeep outdoor wear, and university apparel from institutions like Harvard and UCLA. These licensed collections, often featuring media, academia, sports leagues, or adventure themes, have become staples on online retailers like Musinsa and in brick-and-mortar stores, propelled by K-pop influence and a tech-savvy youth market that make these odd crossovers multimillion-dollar successes.Lockheed, however, is categorically different. Its core business is not exploration, education, or journalism. It is industrialized death, and its arrival in fashion forces a reckoning with how far commodification can stretch.Having spent years in the military, maybe I’m the wrong person to critique this. Or maybe I’m exactly the right one. I know what weapons are for, how they’re used, and the human cost they carry. Lockheed manufactures F-16 and F-35 fighter jets, Hellfire missiles, and precision-guided systems that human rights organizations have repeatedly linked to civilian casualties across multiple conflicts. In Yemen, U.S.-supplied weapons incorporating Lockheed technology contributed to thousands of civilian deaths since 2015, most notoriously the 2018 airstrike on a school bus in Saada that killed dozens of children. In Gaza, since October 2023, Lockheed-supplied F-35s and munitions have formed the backbone of air operations that Amnesty International and other watchdogs have flagged for potential violations of international humanitarian law, cases now under examination by the International Court of Justice.In 2024, the company reported $71 billion in revenue, almost entirely from military contracts, with more than 1,100 F-35s already delivered worldwide and production lines running hotter than ever. That staggering scale is the reality lurking beneath a logo now casually printed on everyday apparel.So why does the planet’s largest arms manufacturer license its brand to streetwear? The answer seems to be twofold: easy money and sophisticated image laundering. Licensing delivers low-risk royalties from Korea’s reported $35-40 billion apparel market with virtually no operational headache. Lockheed simply collects checks while a third-party manufacturer handles design, production, distribution, and deals with all the mess of retail.The far more ambitious goal, however, is reputational refurbishment. Doojin deliberately markets the line around “future-oriented technical aesthetics” and “aerospace innovation,” leaning on cutting-edge fabrics to conjure high-tech futurism instead of battlefield carnage. By late 2025, as U.S. favorability in South Korea continued to slide amid trade tensions and regional geopolitical shifts, the brand quietly de-emphasized its American roots, according to Lockheed representatives. The strategy clearly tries to sever the logo from political controversy and plant it firmly in youth culture, where aesthetic appeal routinely outmuscles ethical concern.Lockheed has honed this kind of rebranding for decades. Their corporate brochures overflow with talk of “driving innovation” and “advancing scientific discovery,” spotlighting STEM scholarships, veteran hiring initiatives, and rapid-response disaster aid. The clothing itself carries the same sanitized messaging. One prominent slogan reads “Ensuring those we serve always stay ahead of ready”, euphemistic corporate-speak that sounds heroic until you remember that “those we serve” includes forces deploying Hellfire missiles against civilian targets. Other pieces feature F-35 graphics paired with copy declaring the jet “strengthens national security, enhances global partnerships, and powers economic growth”. It’s textbook PR varnish. Instruments designed for lethal efficiency, now rebranded as symbols of progress and prosperity.We’ve also seen this trick before: Fast fashion brands that slap “sustainable” labels on sweatshop products. Tech giants that fund glamorous art installations while they harvest user data. Oil companies that rebrand themselves as forward-thinking “energy” players as the Earth’s climate burns. Lockheed, though, traffics in something uniquely irreversible: export-grade death. By licensing its identity to apparel, multibillion-dollar arms contracts are reduced to mere intellectual property; civilian casualties dissolved into, simply, background static.In other words, vibes overpower victims. And when those vibes are stamped with the logo of the planet’s preeminent death merchant, resistance feels futile.Gorpcore has always drawn from military surplus for its rugged utility: endless cargo pockets, indestructible nylons, tactical silhouettes born in combat and repurposed for city streets. Brands like Arc’teryx, The North Face, and Supreme mine that heritage for authenticity and performance. After World War II, army fatigues became symbols of genuine rebellion, worn by anti-war protesters as an act of defiance against the establishment. Today, the dynamic threatens to invert entirely. The establishment itself, the world’s preeminent arms dealer, now supplies the “authentic” merchandise, turning subversion into subtle endorsement.Streetwear grew out of skate culture, hip-hop, and grassroots rebellion against mainstream norms. Importing the aesthetics of atrocity risks converting that legacy into compliance, rendering militarism the newest version of mainstream cool. For a generation immersed in filtered feeds and rapid trend cycles, Lockheed’s logo can sit comfortably beside NASA patches or National Geographic emblems, conveniently severed from the charred wreckage in Saada or the devastation in Gaza. Research on “ethical fading” demonstrates how strong visual design can mute moral alarms, a phenomenon intensified in Korea’s hyper-trendy ecosystem, where mandatory military service may further desensitize young consumers to defense branding while K-pop’s global engine drives relentless consumption.If the line proves durable, escalation feels inevitable. Palantir, another cornerstone of the defense-tech world, has already gone there, hyping limited merch drops that sell out in hours: $99 athletic shorts stamped “PLTR—TECH,” $119 nylon totes, hoodies emblazoned with CEO Alex Karp’s likeness or slogans about “dominating” threats. What’s to stop Northrop Grumman from launching its own techwear line? Or BAE Systems from dropping high-end collaborations?Lockheed already licenses merchandise worldwide through various agencies; broader international rollouts beyond Korea seem only a matter of time. Backlash is possible, boycotts from ethically minded buyers, perhaps even regulatory scrutiny as anti-militarism sentiment swells. Gorpcore’s longstanding flirtation with military aesthetics could calcify into outright fetish, obliterating whatever daylight remained between practical function and state-sanctioned propaganda.Yet, history suggests that in oversaturated markets, “cool” almost always trumps conscience. Lockheed’s streetwear pivot is a stark illustration of how fashion and culture launder raw power, enabling the machinery of war to conceal itself among hype, hoodies, and sold-out drops."
}
]
}