Basel Social Club: With works by Raed Yassin and Mohamad Abdouni

We are thrilled to take part in this year’s edition of Basel Social Club, where we will be showing Raed Yassin’s series “Sex, Spies and the Suicide Dancer” and Mohamad Abdouni's series “Naked Friends”.

During the 1960s and 70s, Beirut thrived as a glamorous, hedonistic hub nicknamed “The Paris of the Middle East,” drawing celebrities and Gulf royalty to its casinos and nightclubs. Amid this nightlife boom, Mr. F., owner of the Shahrazad nightclub, launched the erotic magazine Alf Layla Wa Layla to promote his dancers. The magazine’s popularity soared, showcasing local strippers and fueling their fame. However, Mr. F. began exploiting the magazine’s success by using the women to spy and gather blackmail material, eventually working with Lebanese intelligence. One of his key patrons was Saudi Prince Khalid Bin Saud, who publicly shared tales of his sexual adventures in the magazine—including a love affair with a dancer named Gladys Shock. The scandal caused outrage back in Saudi Arabia. Though the Prince was protected, Lebanese authorities targeted Mr. F. Instead, dancers involved began mysteriously disappearing, and Mr. F. fled into hiding before escaping to Saudi Arabia under the Prince’s protection. This marked the end of Alf Layla Wa Layla.

Mohamad Abdouni’s Naked Friends series is a personal and intimate exploration of identity, vulnerability, and trust within his artistic circle. This photographic project emerged organically from Abdouni’s close connections with his subjects, many of whom are part of the queer community in Beirut and beyond. The series often features his friends in nude or semi-nude poses, capturing raw, unguarded moments that emphasize their individuality and humanity.
Abdouni’s work in this series is notable for its deeply collaborative and respectful approach. The project reflects his broader commitment to documenting queer stories and marginalized identities in the Middle East, especially as a way of preserving histories often overlooked or erased.
His subjects describe the experience as deeply trusting, with Abdouni providing a safe space that allows them to fully express themselves without judgment.