Serwan Baran’s recent body of work extends the formal and political preoccupations of Fatherland, the solo exhibition with which he represented Iraq at the Venice Biennale in 2019. In addition to a large series of paintings, sculptures, and works on paper, he has produced a work of staggering proportions to complement his equally monumental painting from the pavilion, entitled The Last Meal. In his current exhibition, Baran provides a counternarrative to the artworks he was obligated to produce as a war artist in the Iraqi army. While he was instructed to represent the nation and its leaders as beautiful and triumphant then, he now seeks to show the destruction that is absent is such state-mandated political propaganda.
Serwan Baran (b. Baghdad, 1968) received a degree in Fine Arts from the University of Babylon in Hillah, Iraq. In the 1990s, Baran’s work was shown in numerous solo and group exhibitions in Iraq. He was awarded a youth prize in Baghdad in 1990, and the first and second prizes of the Baghdad International Festival of Plastic Arts in 1994 and 1995, respectively. In 2001, he participated in the Ayloul Summer Academy, a residency program led by artist Marwan Kassab-Bachi at Darat al-Funun in Amman, Jordan. He moved to Amman in 2003 during the American invasion of Iraq and, since 2013, he has
A Harsh Beauty
14 February - 18 April, 2020
Hassaan el Samad, a former hunter, has produced a large installation of small-scale still life paintings of dead birds. Taking the figure of the hunted bird as his starting point, he presents a taxonomical survey of the richness and multiplicity of bird species in Lebanon which have been increasingly decimated under lenient hunting laws. This work extends the themes of el Samad’s first solo exhibition which was presented at the onset of the garbage crisis and focused on waste management as it manifested in everyday life.
Hassaan el Samad was born in Beirut during the Lebanese Civil War. He graduated from the Institute of Fine Arts-Raoucheh, where he studied with artists such as Abdelhamid Baalbaki, Mohammad El Rawas, Ali Shams, among others. He has had solo exhibitions in Lebanese recently at Art Space Hamra (2016), and at Safadi Cultural Center in Tripoli (2015). He has participated in group exhibitions at Beirut Art Fair (2016), Art Space Hamra (2015), and Mark Hachem Gallery (2014). He is currently the chair of the department of Fine Arts at the Lebanese University’s third branch, and a member of the Art Collections Committee of the Ministry of Culture.
Memorial to Wildlife
21 June – 25 July, 2019
21 January - 22 February, 2020
Anas Albraehe’s recent painting practice has primarily revolved around representations of workers in their everyday lives, whether in their meager moments of leisure, or hard at work. His last exhibition focused on Syrian manual laborers, with whom he was familiar, caught in spells of deep sleep. After frequent trips to the rural village of Soueida in Syria, where he is from, he has returned with a new body of work that depicts the persistence of manual labor, largely carried out by women, in the aftermath of the scorching of Syrian lands in the past decade marked by a colossal war. Lusciously colorful, large-scale, and yet intricately detailed, Albraehe’s recent oil paintings and monotype sketches bear the same radiance and intimacy of his previous series of work.
Born in Syria in 1991, Anas Albraehe is a Beirut-based artist who primarily works in painting and theatre performance. He received a bachelor’s degree in painting and drawing in 2014 from the Fine Arts University of Damascus, Syria. After the onset of war in Syria, he relocated to Lebanon and obtained an MA in Psychology and Art Therapy from the Lebanese University in 2015. Albraehe’s solo exhibitions include The Dream Catcher at Agial Art Gallery in Lebanon (2018), and Manal, which was held respectively in Artspace Hamra in Lebanon and in Wadi Finan in Jordan, in 2017.