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Unruly Acts: Queer Masculinities in Akram Zaatari's Lens-Based Artworks by Elia Eliev a Thesis Submitted to the Faculty of Gr

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Unruly Acts: Queer Masculinities in Akram Zaatari's Lens-Based Artworks by Elia Eliev a Thesis Submitted to the Faculty of Gr Unruly Acts: Queer Masculinities in Akram Zaatari’s Lens-Based Artworks By Elia Eliev A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in Women’s Studies Institute of Feminist and Gender Studies Faculty of Social Sciences University of Ottawa © Elia Eliev, Ottawa, Canada, 2018 Doctoral Committee Members Dr. Andrea D. Fitzpatrick Associate Professor, History and Theory of Art Department of Visual Arts (Dissertation Advisor) Dr. Lori Burns Full Professor and Director School of Music Dr. Florian Grandena Associate Professor Department of Communication Dr. Jakub Zdebik Assistant Professor, History and Theory of Art Department of Visual Arts Dr. Laura U. Marks Grant Strate University Professor School for the Contemporary Arts Simon Fraser University (External Reader) ii Table of Contents Dedication .....................................................................................................................v Abstract ...................................................................................................................... vi Acknowledgements .................................................................................................... vii List of Figures ............................................................................................................. ix List of Abbreviations .................................................................................................. xv Introduction ..................................................................................................................1 Topic .........................................................................................................................1 Study Objectives ...................................................................................................... 16 Key Terms ............................................................................................................... 21 Masculinities ..................................................................................................... 21 Queer ................................................................................................................ 23 Key Questions ......................................................................................................... 26 Hypothesis ............................................................................................................... 26 Relevance ................................................................................................................ 28 Theoretical Framework ............................................................................................ 39 Methodological Framework ..................................................................................... 34 Summary of Chapters .............................................................................................. 40 Chapter One 1. Post-Civil War Beirut: Art Scene and Gender Norms .......................................... 44 1.1. Beirut’s Contemporary Art Scene: Then & Now ............................................... 46 1.2. Issues of Censorship: The Case of Let It Be (2008) ........................................... 56 1.3. Theoretical Conceptions of Arab Masculinities ................................................. 62 1.4. Gender Norms in Today’s Lebanon ................................................................... 67 1.5. Masculinities and Sexual Practices .................................................................... 72 1.6. Conceptualizing Homosexuality in Lebanon and the Arab World ...................... 75 1.7. A Note on Language and Terminologies ........................................................... 80 Chapter Two 2. Gender Performativity in Hashem El Madani’s Studio Shehrazade ..................... 88 2.1. The Arab Images Foundation (AIF)................................................................... 90 2.2. Hashem El Madani and his Studio Practice ....................................................... 93 2.3. The Madani Project (1999 – ongoing) ............................................................. 103 2.4. Zaatari and Appropriation ............................................................................... 106 2.5. Gender Differences in the Photographic Studio Portraits of The Madani Project .............................................................................................................................. 113 2.5.1. Agency in Strife: Wife of Baqari, 1957, (2007) ...................................... 113 2.5.2. Wondering Moments: Same-Sex Kissing Scenes ................................... 118 2.6. Archival Practice ............................................................................................. 134 2.7. Towards a Queer Reading of the Archive ........................................................ 138 iii Chapter Three 3. Hidden Voices, Unruly Bodies: Speaking within Metaphors in Majnounak (1997) ................................................................................................................................... 143 3.1. Majnounak [Crazy of You] (1997) ................................................................... 147 3.2. The Emergence of Video Art in Lebanon ........................................................ 150 3.3. Why Video Art? ............................................................................................. 153 3.4. Video Art as a Tool of Representation and Subversion in Zaatari’s Works ...... 155 3.5. Rape Culture and the Pornographic Imagination in Majnounak ....................... 161 3.6. Queer Moments in Majnounak ........................................................................ 180 Chapter Four 4. Opaque Expressions: Un/Disclosing Queer Identities in Al-ilka al-hamra (2000) and Shou Bhebbak (2001) ......................................................................................... 190 4.1. Al-ilka al-hamra (Red Chewing Gum) (2000) .................................................. 195 4.1.1. (Queer) Acts: Fellatio & Exchange of Money ........................................ 202 4.1.2. Hesitations ............................................................................................ 203 4.1.3. “The Shadow Boy” Figure..................................................................... 204 4.1.4. The Red Chewing Gum ......................................................................... 207 4.1.5. The Colour Red ..................................................................................... 209 4.1.6. Disgust .................................................................................................. 211 4.2. Shou Bhebbak (How I Love You) (2000) .......................................................... 217 Conclusion ................................................................................................................ 234 Figure Appendix ....................................................................................................... 246 Video Transcripts ..................................................................................................... 283 A.1. Majnounak [Crazy for you] (1997) ................................................................. 283 A.2. Al-ilka al-hamra [Red Chewing Gum] (2001) ................................................. 292 A.3. Shou Bhebbak [How I Love You] (2001) ......................................................... 297 Bibliography ............................................................................................................. 308 iv I dedicate this dissertation to my mother Sika Eliev for her constant support and unconditional love. v Abstract Keywords: Contemporary art, Art history, Postwar Lebanon, Gender, Masculinities, Sexuality, Akram Zaatari, Arab Image Foundation, Queer. Over the past decade, scholarly works have examined the plurality and diversity of men in relation to social practices of Arab cultures, while also examining discourses of violence, militarization and hegemonic masculinity in times of war and conflict. However, there has been little discussion and critical literature concerning non- heterosexual (or queer) representations of masculinities in the Arab world. Within such context, this dissertation addresses the emerging and shifting visual representations of ‘queer’ masculinities as they are artistically performed in the contemporary lens-based artworks of internationally recognized Lebanese artist Akram Zaatari. Much of the research on queerness in the Arab region risks falling into a colonialist and liberatory framework that seeks to discover an ‘authentic’ queer identity. Contrary to such approaches, I argue for the fluidity of a local queer Arab model of disidentification underpinning Zaatari’s artworks, which questions our perceived realities of both queerness and hegemonic masculinity in Post-Civil War Lebanon. Taking an interdisciplinary approach that integrates cross-cultural comparative and queer visual analysis, I locate Zaatari’s artworks within a larger sociocultural context, as well as within and in tension with existing feminist and contemporary art discourses on the body, identity, and performativity. By examining visual and textual representations of local queer masculinities, this dissertation engages in dynamic discussions on the process of masculinization and elaborates on its future cultural and artistic trends
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