Being Serwan Baran: The Art of War: The Political Expression in Exile Part II

This article appeared in Being Serwan Baran Issue #69 dedicated to tackling the journey of Serwan Baran, an Iraqi artist who transforms the brutal realities of war and human suffering into visual narratives. Born in Baghdad in 1968 and shaped by his experiences as a soldier, Baran’s work is rich with authenticity and emotional depth. His art reveals a complex psyche and a deep connection to the human experience. Through dark, brooding canvases, Baran explores themes of pain, resilience, and hope, urging viewers to confront uncomfortable truths while embracing our shared humanity.                                      Issue #69 ‘Being Serwan Baran’

During his time as a soldier in the Iraqi Army, Baran was forced to paint realistic, propagandist images depicting battle victories and casualties from the Gulf War. Additionally, he refrained from creating personal and anti-war works due to fear of retaliation. After leaving Iraq and settling in Jordan, Baran reflected on his experiences. Consequently, his work gained strong political undertones. For instance, Only Slogans focused on wall slogans from before and after Saddam. Similarly, Whispering centered on silence and information transmission, while Elected depicted the current democratic climate. One celebrated expressionist series showed Army generals in earthy tones and muddled backgrounds. These satirical works recount Baran’s traumatic military past and aim to ridicule the leaders he and other soldiers once revered.

Another key subject in Baran’s work is the dog. Drawing on his interest in history and mythology, he explored the role of canines across cultures. In his art, the dog symbolizes both the transition from life to death and the brutality of war. Baran also discusses how his exile affected his artwork and how mythology influences his painting.

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Only Slogans took place at Orfali Gallery in Amman throughout the terrible unrest in Iraq. Baran deals with the unfulfilled political slogans covering Baghdad’s walls, indicative of a broken-down political discourse.

Fusing a range of creative disciplines, Baran’s work is political in its nature as he provokes the status quo and provides an outlet for those who are unheard of; representing social issues emanating from Iraq. This is a reminder of Iraq. They are organic transubstantiate to survive. This exhibition with reminders of an ongoing struggle, its spirit unbroken or dead but immortalised in raw and undiplomatic artistic language.

Untitled, 2012, Acrylic on canvas, 57 x 67 cm

On the Edge took place at Nabad Gallery in Amman. This exhibition delves into the concept of identity, featuring a series of paintings and sculptures that blur the lines between what is visible and hidden, and what is real and imagined.

n the Edge, 2012, Acrylic on canvas, 70 x 60 cm.
On the Edge, 2012, Acrylic on canvas, 70 x 60 cm.

Baran’s art grasps a deep transformation. His figures, elegantly eerie and unsettling, defies traditional depictions. Faces and bodies appear almost dreamlike, evoking a sense of childlike fascination mixed with a particular existential discomfort. This duality reflects the artist’s interest in human vulnerability and the masks we wear to navigate our existence. In On the Edge, Baran uses a mingling of realism and abstraction to convey the internal struggles of his subjects. His technique reveals the invisible fragments that shape our perceptions and identities. The works carry a sense of playfulness, yet they also offer a weighty contemplation on the nature of being and the essence of self. His pieces often reference mythological and philosophical themes, creating a rich tapestry of cultural and personal narratives. 

This exhibition calls viewers to contemplate on the fluidity of identity and the elusive nature of self. Baran’s figures, sometimes appearing as marionettes, sometimes as fragmented forms, compel us to consider the profound and often contradictory elements of our humanity. The use of muted colours and textured surfaces further enhances the ethereal quality of his work, making On the Edge a compelling research of the human condition. 

Canines, 2016, Acrylic on canvas, 165 x 238 cm. Courtesy of Saleh Barakat Gallery, Beirut
Canines, 2016, Acrylic on canvas, 165 x 238 cm. Courtesy of Saleh Barakat Gallery, Beirut
Canines, 2016, Acrylic on canvas, 209 x 175 cm. Courtesy of Saleh Barakat Gallery, Beirut
Canines, 2016, Acrylic on canvas, 209 x 175 cm. Courtesy of Saleh Barakat Gallery, Beirut

In Canines, Serwan Baran reimagines the symbolism of dogs through a multitude of threads.

From Shakespeare’s dogs of war to Nietzsche’s domesticated wolves, the exhibition showcases Baran’s paintings of dogs as symbols of power, fear, and companionship. In his art, these figures are imbued with both strength and menace. Furthermore, mythology plays a significant role, with Anubis, the Egyptian deity who guides souls to the afterlife, appearing in hybrid forms that link life and death. Additionally, Baran’s work delves into themes of protection and intimidation, reflecting both political and personal fears, especially the terror of the 2003 Iraqi invasion. Consequently, this shift from detailed realism to abstract expressionism highlights his evolving artistic engagement with his subject matter.

His work engages deeply with the multifaceted roles of dogs—beasts of burden, loyal companions, and powerful symbols. It challenges viewers to rethink their perceptions and relationships with these animals. *Canines* invites them to explore the timeless bond between humans and dogs. It urges contemplation of our shared journey through art and the enigmatic presence of these creatures in our lives.

Fatherland, Serwan Baran, The Pavilion of Iraq, 58th Venice Biennale, 2019. Courtesy of Ruya Foundation.
Fatherland, Serwan Baran, The Pavilion of Iraq, 58th Venice Biennale, 2019. Courtesy of Ruya Foundation.

Fatherland, commissioned by the Ruya Foundation for the Iraq Pavilion at the 58th Venice Biennale in 2019, sees Serwan Baran explore the relentless wars that have shaped Iraq. This exhibition, born from Baran’s intense proposal, documents the soldier’s perspective on the relationship between man and homeland. It delves into the trauma endured by generations under dictatorship and subsequent conflicts. Baran has experienced over forty years of war, making his work a raw and expressionistic commentary on these harsh realities.

Fatherland, Serwan Baran, The Pavilion of Iraq, 58th Venice Biennale, 2019. Courtesy of Ruya Foundation.
Fatherland, Serwan Baran, The Pavilion of Iraq, 58th Venice Biennale, 2019. Courtesy of Ruya Foundation.

His works now address his military experiences and those of his colleagues. They critique Iraq’s masculine and paternalistic political culture. The concept of “fatherland” contrasts with the nurturing “motherland,” highlighting the oppressive ideologies enacted by male-dominated leadership in Iraq.

The exhibition featured site-specific commissioned works, including The Last Meal. This monumental acrylic painting depicts fallen soldiers during their last meal from a bird’s-eye view. Additionally, it incorporates collage elements from Iraqi military uniforms. These uniforms, which were provided by the families of the deceased, represent various conflicts: the Iran-Iraq War, the Second Gulf War, and the war against ISIS. Furthermore, another key piece is The Last General, a life-size sculpture of a decayed army general in a sunken lifeboat. This sculpture symbolizes the tragic fate of both leaders and soldiers.

Entering Fatherland raised the feeling of a war zone, aligned with Baran’s dark and atmospheric style. The exhibition invited viewers to reflect on the human and political dimensions of war. The accompanying catalogue serves as a reflective document, preserving the memories of deceased Iraqi soldiers. It includes collected letters and selected poems by Sargon Boulos and Abdul Amir Jaras. These literary pieces complement Baran’s artwork, from which questions arise on the human cost of Iraq’s enduring conflicts.

Untitled, 2019, Acrylic on canvas, 180 x 200 cm. Courtesy of Saleh Barakat Gallery. Photo ©Paul Hennebelle .
Untitled, 2019, Acrylic on canvas, 180 x 200 cm. Courtesy of Saleh Barakat Gallery. Photo ©Paul Hennebelle .

In A Harsh Beauty, Serwan Baran confronts the stark realities of conflict through monumental works that command both awe and reflection. Consequently, this exhibition features Baran’s imposing paintings and sculptures, which vividly depict the harrowing effects of war. Additionally, Baran employs canvases up to five meters wide and uses a somber palette of military greens, beiges, and blacks. As a result, his work captures the visceral experiences of soldiers, both living and dead.

The exhibition extends Baran’s critique of nationalism, a theme he first explored in Fatherland at the 2019 Venice Biennale. Here, his expressionistic distortions of soldiers’ faces and the stark, graphic depiction of their suffering highlight the human cost of war. Baran’s work shifts between realism and expressionism. It captures historical grandeur while also exploring existential anxieties through abstract compositions. Additionally, his detailed narrative scenes, such as The Last Meal, and expressive sculptures like The Last General reveal the dehumanizing effects of conflict. Consequently, they connect past and present sufferings.

Baran questions the glorification of warfare and exposes its brutal reality. His figures, often disfigured and rendered in raw, powerful strokes, reflect a critique of the idealistic narratives of nationalism. A Harsh Beauty invites viewers to confront the grotesque beauty of destruction. It urges a deeper understanding of the human costs of conflict and the enduring quest for meaning amid chaos.

Explore related articles on Serwan Baran’s art and career.

Being Serwan Baran: The Art of War: The Political Expression in Exile Part I

Being Serwan Baran: Serwan Baran’s Early Artistic Journey

The Custodian: Artistic Visionaries: Serwan Baran

SERWAN BARAN IN BEING AYMAN BAALBAKI ISSUE

 

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