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Liz Wells (2003)
The Photography Reader
R. Barthes (1980)
Camera Lucida: Reflections on Photography
R. Sember (2003)
In the Shadow of the ObjectSpace and Culture, 6
(2005)
Egypt as a Woman: Nationalism, Gender, and Politics
B. Baron (2005)
Egypt as a Woman
THIRD S PACE Reversing the Domestic Gaze Chaza Charafeddine’s Maidames Exhibition in Beirut YA S M I N E N A C H A B E TA A N ebanese human rights activists see the Kafala system as a staggering social L problem,which many have likened to a system of slavery. Currently supported by the Ministry of Labor, migrant workers are required to have a host-country sponsor, who is responsible for maintaining their legal status and controlling their mobil- ity. The institution leaves a growing community of migrant workers, mostly women employed in domestic service, with no legal rights to escape abusive employers and poor working conditions, rendering them vulnerable to sexual, verbal, and physical abuse on a daily basis. Between October 11 and November 10, 2018, the Beirut-based contempo- rary artist Chaza Charafeddine (b. 1964) sought to destabilize the power dynamics between migrant domestic workers and their employers in Maidames, a series of twenty 55×80cm photo-portraits, printed with archival ink on special photo paper and framed with UV filter glass, exhibited at the Agial Gallery in Beirut (see Agial Art Gallery n.d.). Other Beirut-based artists before her have launched awareness campaigns to prevent the exploitation of migrant workers
Journal of Middle East Women's Studies – Duke University Press
Published: Mar 1, 2020
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