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’
How did you first come across Serwan Baran’s work, and what drew you to represent him?
I had been aware of Serwan from the days he was based in Amman but it was not until he began his move to Beirut in 2014 that our relationship became closer. At this time, we opened a conversation about an eventual exhibition at Agial. I was mesmerised by his brushstrokes and painterly gestures, but also his eloquence and clarity in expressing himself and his views in Arabic. He had everything I look for in an artist; a clear vision and a strong well-articulated concept, coupled with an excellent command of painting practice. Our conversation and understanding developed into Canine, in 2016, an exhibition which shed light on the aggressive attitudes of humans as predators.
Can you share some background information about Serwan Baran and his artistic journey?
Serwan has a gift for painting and is, in my view, one of the most talented painters of our times. He was formed in Iraq under Faik Hassan, at a time when the Faculty of Fine Arts there was still the quintessential incubator of young artists. As the situation in Baghdad deteriorated, he was forced to leave, beginning a new chapter of his life, passing through Muscat, Amman, and many other stops before settling between Beirut and Cairo.
How has your collaboration with Serwan Baran evolved over time?
Our relationship has developed into a profound friendship which extends far beyond my appreciation of his artwork. For example, I remember vividly the moment I met his mother, a strong woman who raised the family after the early death of his father, an honourable judge and law maker.
Can you discuss the significance of Serwan Baran’s participation in the 58th International Venice Biennale and the impact it had on his career?
The Venice Bienniale is the premier artistic event in the art world and so to represent one’s country there through the format of the national pavilion is a moment of extreme significance. Serwan prepared an incredibly powerful body of work, culminating with a large mural (400 x 500cm) coupled with an important sculptural piece. Later, I had the privilege to showcase this entire project in the newly inaugurated flagship space of Saleh Barakat Gallery, one of the proudest moments of my career.
How has Serwan Baran’s work contributed to the broader cultural and artistic landscape in the Middle East and beyond?
Serwan is a true believer in Arabicity. He is a proud Kurd, a proud Iraqi, and a proud Arab at the same time, who believes in the multiplicity of identities and cultures. I share with him this belief in Levantine culture, multi-confessional and multi-ethnic, which makes Arabs feel at home, whether in Cairo, Damascus, Baghdad, Sharjah, Amman, Riyadh, Beirut, or any other Arab city. This nuanced understanding of Arab culture ensures that his art is as much appreciated in Beirut as in Dubai, Amman, Cairo, Abu Dhabi or Riyadh, where he regularly exhibits. Indeed, the issues that he explores through his work touch most Arabs, whether relating to the Iraqi condition, totalitarian regimes, the situation of women, a general lack of freedom, ISIS, exile, or the Palestinian cause. Recently, he began work on the idea of the imprisonment of the human race within their current fascination of social media. Given the more global and humane dimension of the subject, this new body of work is likely to propel him forward onto the international scene, where an artist of this skill, subtlety and calibre ultimately belongs.
