GWANGJU -- A soundscape combining rainfall with a Qatari children's folk song fills the corridor where a reflection of Qatari traditional architecture patterns surround visitors. On the wall are Qatari idioms. One reads: “Whatever comes from the sky, the earth accepts.”

The National Museum of Qatar presents its national pavilion exhibition at the Gwangju Biennale, Asia’s leading art biennale, which kicked off Sept. 7 across the city of Gwangju. The title of the exhibition -- “Knock, Rain, Knock" -- was borrowed from the lyrics of the folk song being played.

“The works are newly commissioned specifically for this exhibition. We believe sharing these types of works really offers a way to connect people together, especially with the world now that is extremely divided," Sheikh Abdulaziz H. Al Thani, director of the National Museum of Qatar, told The Korea Herald on Sept. 7.

"We always look for the things that unite us,” he said.

The exhibition was joined by seven Qatari or Qatar-based artists: designer Abdulrahman al Muftah, interdisciplinary artist Farah al Sidiky, graphic designer Fatima Abbas, sound artist Guillaume Rousere, computation artist Hind al Saad, interdisciplinary research designer Nada Elkharashi and graphic designer Sara al Naimi.

“Some of them are Qatari and some of them are residents. They are equally important to our community because Qataris are only a small percentage of the population," the director said. "We have a lot of residents that have different talents and we loved to showcase them as well.”

As of August 31, the population of Qatar stood slightly above 3 million, increasing 2.9 percent from a year ago, according to the preliminary figures compiled by Qatar's National Planning Council.

The exhibition unfolds in four sections -- “Landscape,” “To Pray,” “To Receive” and “To Bear” – beginning with Abbas’ “Glimpse of Rain,” a diptych depicting a year with rain and a year of drought.

In Qatar, rainfall is considered a symbol of life, love and renewal, as it is a rare and cherished occurrence, according to the museum's introduction at the exhibition.

Al Muftah’s “Rain on Materiality,” consisting of three large painted copper sheets, shows how each droplet etches a “tale of longing of rain” on the metal billboards scattered across Qatar’s landscape. The artist explores the harmonious, yet ever-changing relationship between human-made structures and natural elements.

“We have public art programs and ‘creative hubs’ that comprise several art institutions such as Fire Station (a former fire station), which was converted as a residency studio,” he said. “We bring in some 20 artists every year and provide workshops and studio spaces not only for residents or Qatari, but international artists as well.”

“What I am focusing on is to expand the museum beyond its walls for our international presence. That is why we are here,” he added.

Abdulaziz was inaugurated to lead the museum in February. He previously oversaw Qatar Museums’ communications throughout the soccer World Cup held there in 2022.

The 15th edition of the Gwangju Biennale was curated by French art critic and curator Nicolas Bourriaud under the theme “Pansori, a Soundscape of the 21st Century,” reinterpreting the traditional Korean form of musical storytelling.

The biennale encompasses 31 pavilions, marking its 30th anniversary. Qatar is the sole Arab country to have a standalone pavilion at the biennale. The Qatar Pavilion will be on view until Dec. 1.