Sheikh Abdulaziz Al Thani & Tania Al Majid about the Qatar Pavilion at the 15th edition of the Gwangju Biennale

Qatar Museums announced the debut of the Qatar Pavilion at the 15th edition of the Gwangju Biennale, marking the first Arab country to have a dedicated pavilion at the South Korean event. Curated by the National Museum of Qatar, the exhibition titled Knock, Rain, Knock delves into the cultural significance of rain in Qatari life. The pavilion showcases newly commissioned works by seven Qatari and Qatar-based artists: Abdulrahman Al Muftah, Farah Al Sidiky, Fatima Abbas, Guillaume Rouseré, Hind Al Saad, Nada Elkharashi, and Sara Al Naimi.

Running until the 1st of December 2024, the exhibition centres around salat al istisqaa’, the prayer for rain, a key spiritual practice in times of drought. The artworks explore themes of Islamic identity, the symbolism of water, and communal experiences in public spaces. The exhibition connects traditional and Islamic heritage with contemporary art ultimately offering global audiences a deeper understanding of Qatari culture.

Interview with Sheikh Abdulaziz Al Thani, Director of the National Museum of Qatar

What impact do you hope the Qatari Pavilion will have on cultural exchange?

The timing of this exhibition is particularly significant, coinciding with the 50th anniversary of diplomatic relations between Qatar and Korea, making it a fitting tribute to the strong ties between the two nations. We hope that through this biennale, we can highlight the remarkable artistic talent Qatar has to offer, while the connections made across the diverse cultures of visitors interacting with the exhibition will further enrich our relationships.

How does the exhibition align with Qatar’s 2030 Vision, particularly the Environmental Development pillar?

Qatar Vision 2030 prioritises environmental sustainability as a key aspect of national development. At Qatar Museums and the National Museum of Qatar, we align our projects with this vision by creating initiatives that advocate for environmental awareness and conservation. This exhibition not only showcases the talents of local artists but also highlights the crucial relationship between our culture, religion, and the environment. By raising awareness of environmental issues through art, we aim to inspire audiences to appreciate and protect our natural heritage.

As the first and only Arab country represented, how does the Qatar Pavilion aim to contribute to global conversations on art, environment, and cultural identity at the Gwangju Biennale?

We hope this initiative will open dialogues of cultural exchange. Continuing Qatar Museum’s efforts, we aim to integrate Qatar’s creative scene into the broader narrative of international art history. We have a wealth of stories and knowledge to share, and we are committed to supporting our artists by encouraging the creation of new works. By doing so, we aspire to not only showcase Qatar’s cultural heritage, but also to inspire a deeper understanding and appreciation of our artistic contributions on a global scale

Place of Abandon by Farah Al Sidiky
Place of Abandon by Farah Al Sidiky

Interview with Tania Al Majid, Deputy Director of Curatorial Affairs at the National Museum of Qatar

How does the theme of salat al istisqaa’ reflect Qatar’s cultural heritage, and what inspired you to explore this theme for the Pavilion?

Alfaga a Oasis by Nada Elkharashi
Alfaga a Oasis by Nada Elkharashi

The theme of the main Biennale is Pansori, a traditional Korean storytelling song. We took that as an inspiration to discuss sound experiences within our own culture. The salat al istisqaa’ not only represents aspects of our Islamic heritage but also showcases the importance of the environment within our everyday lives. With Qatar often characteried by its deserts, drought, and water scarcity, viewing rain through this lens provides a powerful and thought-provoking perspective.

How does the National Museum of Qatar view the role of contemporary art in preserving and reinterpreting Islamic and traditional identity, particularly in the context of international platforms like the Gwangju Biennale?

The National Museum of Qatar serves as a vibrant platform for storytelling. Through our exhibitions and programming, we have always strived to offer experiences and exploring stories of our people, either through artworks or artifacts, or interactive displays. It is always important to present our Islamic and traditional identity, as these artworks can convey powerful stories that allow viewers to connect with their personal experiences from diverse backgrounds. As the first Arab pavilion at the Gwangju Biennale, it is an honour to represent our identity internationally.

Can you share insights into the selection process for the artists and how their work uniquely represents the theme of rain and its significance in Qatari culture?

We began by inviting a selection of local and regional artists to respond to a carefully crafted brief. After reviewing their submissions, we narrowed our selection down to seven talented artists, based on how closely they fit the storyline and narrative we aimed to convey through the exhibition. Our commitment to creating emerging young talents is a key aspect of this initiative, as many of these artists are participating in their first international collaboration. By providing them with this platform, we hope to highlight their work and showcase the vibrant artistic community in our region.

Place of Abandon by Farah Al Sidiky
Place of Abandon by Farah Al Sidiky

Location: Gwangju Biennale, South Korea

Dates: 7 September – 1 December 2024

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