Tarho and El Masri. Studio Shehrazade, Saida, Lebanon, 1958. Hashem el Madani 2007

Curator: Immediately, the image strikes me as tender, a sort of vulnerable tableau vivant. Editor: Akram Zaatari's work, originating from the collection of photographer Hashem el Madani, provides a compelling glimpse into mid-century Lebanon. This particular photograph, "Tarho and El Masri. Studio Shehrazade, Saida, Lebanon, 1958," captures a moment of intimacy. Curator: The backdrop, those gauzy curtains, feels like both a stage and a shield. I wonder what it meant to stage this kind of affection then? Editor: The image becomes significant when we consider the socio-political context—queer representation amidst societal constraints. These are the faces and stories that archives often intentionally erase. Curator: Absolutely. It’s like a whispered secret preserved. Editor: Exactly. Zaatari’s curatorial gesture creates a dialogue, challenging historical narratives and prompting critical awareness of sexuality, identity, and visibility. Curator: Yes, it's a reminder of the quiet revolutions that have always existed. Editor: Ultimately, this image disrupts the presumed narratives of the past, reminding us of the power of images to subvert, affirm, and rewrite history.