Creativity Showcased in Qatar Pavilion at Gwangju Biennale

Qatar’s inaugural pavilion at the 15th Gwangju Biennale throws light on the creative works of seven Qatar-based artists and is curated by National Museum of Qatar.

Knock, Rain, Knock, curated by the National Museum of Qatar, presented its newly commissioned artworks by seven Qatari and Qatar-based artists that will be on view until 1 December 2024.

The Qatar Pavilion’s debut exhibition explores the significance of rain in Qatari culture. The exhibition features 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. The exhibition will be on view until 1 December 2024 at the Kwangju Bank Art Hall. The artwork installations were sponsored by Empty S.L.

At the heart of the exhibition is Salat al istisqaa’, a prayer performed to call for rain during droughts. The theme is woven throughout the artworks, which also explores Arab and Islamic identity, water symbolism, and communal experiences within public spaces.

The Qatar Pavilion is part of the Gwangju Biennale and is presented alongside the main exhibition of the 15th Gwangju Biennale, Pansori, a soundscape of the 21st century. This collaboration marks a significant milestone in the ongoing cultural partnership between Qatar and South Korea, cultivating deeper connections through the universal language of art. The artworks in the Qatar Pavilion reflects a profound aspect of Islamic and traditional identity, offering artistic interpretations that deepen one’s connection to the earth.

We talk to all seven artists to understand more about their unique works depicting rain and the emotions it awakens in the desert.

The Sounds of Rain

French sound artist Guillaume Rousere’s work is deeply touching and leaves a permanent impression on the viewer with the emotions evoked through his work.

“As a sound artist, I have learned how to convey emotions through sound and field recordings. My philosophy is rooted in phenomenology—it is about capturing meaningful moments,” he says.

His installation at the Qatar Pavilion at the Gwangju Biennale takes visitors to the land of deserts through the 39-minute recording from a rawdat after the rain.

“Over 39 minutes, you can hear the call to prayer at sunset, the changing tones of insects, and birds settling in for the night and so much more,” explains the artist.

In this interview, he tells us more about the installation and the idea behind it.

The material and intent

Like many contemporary sound and interdisciplinary artist, Guillaume’s choices are driven by intention, vision and meaning at every stage of the creative process.

“Every choice—from materials to size—was made consciously to reinforce this message. For instance, by making the irrigation system visible and creating a closed system where water is refilled and recycled, I wanted to highlight how, in contemporary times, we rely on technology for sustainable and controlled access to fresh water. Developing the mechanism to show only a few drops from the system references the last drops of rain—a moment that holds significance for me.

The metal tank as a pool or receptacle references the Anthropocene and our current civilisation. As for the intangible elements, the audio recordings and sound diffusion system immerse the audience in the moment, while the lighting that reflects on the walls adds an ethereal quality to the room.

He explains how his field recordings are interpreted and shared in a contemporary context. He says, “My art practice is built on three pillars: eco-acoustics, phenomenology, and the Anthropocene aspect of our society. Balancing aesthetics and meaningfulness can be challenging, especially in a large-scale installation centered on a listening experience. The key is constant questioning and experimentation—to understand which elements push too far in one direction or the other.”

Guillaume considers everything, from the height of the water system, the colour of the room and the direction of the entrance to arrive at the best emotionally engaged installation.

“My goal is for the audience to appreciate the work, feel inclined to listen, and engage in the experience. My installations often fall into the realm of contemplation, so compromises are sometimes necessary to make the experience comfortable for the audience. The details are meticulously planned so the experience feels seamless and transports the audience beyond the gallery space,” he says.

In a country that does not share the language or the religion of the country of the installation, how does he connect to his audience in Korea?                                                                                                                            “Even though my work is technically complex, I always strive to make the experience accessible and understandable to a broad audience. The recording captures the wetness of the ecosystem, allowing the listener to sense how rare this event is. Our brains naturally interpret these phenomena, and even though we live in a technology-driven society, it’s a skill that can easily be reawakened through attentive listening.”

The audio is designed to immerse the listener in the location, and the physical elements of the installation reinforce this experience visually. Together, they guide the viewer while leaving enough space for personal imagination, without overwhelming the senses.

Message on Tapestry

Sara Al Naimi is a VCUarts Qatar graduate in Graphics Design and here she uses linen to represent rain as the material is often associated with purity due to its natural, unprocessed state.

“Linen symbolises the Earth and its cycles, as the growth of flax relies on rain, linking it to the life-giving aspects of water and nature. By using linen to represent the preciousness of rain, I add depth to the work, embodying both the fragility and necessity of natural cycles. Its connection to water, nature, and durability reinforces the idea that rain is not only precious but essential and enduring,” she says.
Sara creates a clear and direct message with her illustrations and engages her viewers as she builds a relationship between pixel illustrations and Arabic typography,

“Each poem in the tapestry is represented by a direct and clear illustration, making it easy to understand and connect with the artwork,” she explains.
The triptych tapestry series representing pre-rain (the drought), rain, and post-rain, will give the viewers the message of a land and its yearning for rain.

“Each tapestry features a combination of Arabic typography and pixel illustrations, with each illustration directly reflecting the meaning of the poem. The relationship between the typography and the illustrations helps engage viewers, enhancing their understanding of the poem’s expression and the story behind it,” she says.

The Unforgiving Land

Fatima Abbas is a graphic designer who is currently pursuing MFA in Design from VCUart Qatar and in her installation she uses colour on wood to convey the message of rain on earth.

“The choice of wood as the base for the artwork symbolises the foundational element of the land itself; solid, raw, and earthy. Each square becomes a visual representation of the land’s condition by applying colour-coded paint. The contrast between drought and rainfall and the rigid texture of the wood reflects the unforgiving nature of dry land, while the paint brings life to the squares symbolising rain. This juxtaposition emphasises the transformative power of rain, highlighting its value and its scarcity of it in a tangible way,” she says.

She worked through her installation intuitively capturing the annual cycle through colour transitions, to evoke reflections on the relationship between climate, environment, and the inhabitants of its land, allowing viewers to experience the effects of rain and drought without needing an explicit narrative.

“It was both a challenge and an exploration to convey the message visually without relying on text. I focused on data-driven aesthetics to ensure the piece communicates the story of the land,” says Fatima.

“The landscape in Qatar and the area surrounding it have such unique qualities that make it slightly obvious to represent but challenging to differentiate. And here is where the cultural perspective adds on. We can see some artists used a more poetic approach to showcase visually the qualities of the topography and climate, while others went more pragmatic. I believe those different approaches to visually communicating Qatar’s landscape, played a deeper role in the cohesiveness of the story and the intentions behind the exhibition,” she says emphasizing the role of art, material and poems to narrate the history and culture of a place.

Through the Windows of Time

Hind Al Saad is an artist and graphic designer who graduated from VCUarts Qatar. Her work includes experimentations with form making, computational art, and creative coding, where she explores means of creating infinite results by using finite rules. She uses an open prompt to contemplate this time by observing raindrops falling through windows.

“One of the contemplative moments I experience with rain is observing the world through the micro reflections that form on the surfaces of windows from raindrops. “So they rejoice” mirrors that experience by using glass lenses to refract and magnify the shadows cast by the machine,” she says.

The artwork focuses on creating an experiential environment that presents an alternative interpretation of rainfall. Where the message is an open prompt to contemplate one of rain’s aspects, where the audience can view rain through a different lens and form new memories.

Her work is not in direct reference to land while it references Islamic manuscripts and design to touch on the land.

 “The topography referenced is the raindrops so it’s not specific to Qatar. The forms used in the artwork reference Islamic manuscripts and design,” says Hind.

The Patterns of Rain

Qatari artist Abdulrahman Al Muftah is a multi-disciplinary artist and a VCUarts Qatar MFA graduate who uses the interaction between water and the material’s surface to mirror the themes of rain and the passage of time.

“As the material weathers over time, the effects of these natural elements become more pronounced, symbolising the ongoing influence of nature and the environment on both physical and conceptual landscape,” he says.

He says that creating the artwork was challenging, as he had to expedite a process that naturally would take years. He says, “I had to figure out several chemicals that would help expedite the patina process.”

“Though the topography might not stand out to everyone, art enthusiasts who focus on materials may notice how the rain’s pattern has affected the surface.”

The Beauty of Desert after the Rain

Nada Elkharashi is an interdisciplinary research designer focused on creating thought-provoking experiences and realities. She is the only designer from Qatar whose work has been shown at the SaloneSatellite at Milan Design Week and she has won the Rossana Orlandi Guiltlessplastic award.

The materials of Al-Fag’a Oasis invite the natural world to interact with the space, capturing the transformative impact of rain in the Qatari desert.

“It becomes a quiet witness, waiting with the land, absorbing the essence of each drop as it falls. In this way, it becomes more than just a structure; it becomes a living narrative that holds space for both cultural memory and natural cycles. The moment the rain descends, the piece awakens, embracing life—flora, fauna, and the human—transforming into a sanctuary. It’s not just about the rain itself, but the way it brings life, how it makes this place a point of gathering, where culture and the living world meet,” she explains.
As an interdisciplinary designer, Nada is always drawn to the space where two ideas, or two worlds, overlap.

“For me, the challenge is not just in making something, but in revealing what hasn’t been seen yet—filling in that missing vision. With Al-Fag’a Oasis, it wasn’t about telling people what to see, but about creating an experience where the viewer can connect with the land in a new way, where they can witness how nature and culture can interact. It’s about showing how we can recreate, gather, and use what the environment offers, without needing words to explain,” she says.

When these two elements—nature and human touch—meet in the piece, the message becomes clear through the interaction.
“Al-Fag’a Oasis camouflages with the surface of the Qatari desert, its layers covered in fava bean peels and eggshells that mirror the natural colours of the sand, the greens, and the rocks. It becomes part of the landscape. But when it rains, the oasis transforms, reflecting the sky and shining, calling for human interaction. This subtle shift mirrors the relationship between the land, the climate, and how we engage with it—showing that the desert, too, is alive and responsive,” she says.

A Landscape Beyond Time

Farah Al Sidiky is an interdisciplinary artist who often combines visual and literary art. Her practice explores narratives as a medium, how they are fabricated, and the marks they leave behind in text and image.

Her work, Place of Abandon, introduces the viewers to the desert by reflecting on how they have been imagined and inhabited.
“Desert biomes are often implied or observed as barren sites and desolate places. The work challenges these notions, removing all forms of recognisable life to highlight its unique agency.
Through alternative narratives, the viewers encounter the landscape beyond space and time,” she says.

She uses sound and text as layered elements that convey the intention to the viewers, allowing the viewers to create their own interpretation by the angled screens.

“By creating an immersive experience, viewers can engage with the broader intangible aspects.
It creates a better understanding of a different visual culture by allowing the viewers to form their own connections,” she says.

All Images Courtesy Qatar Museums and Qatar Creates