It remains untouched | by Maria Bagnara

First of all I would like to specify that until now I can’t define my feelings, my personal impressions, my deep sensations about the most emblematic project that the artist, Mohammed Kazem, is showing at the UAE National Pavilion for the 55th art exhibition in the Venice Biennale.

Actually my feeling are growing; new ones created and my inspiration exploding every day as I interact with the work.

My first approach with Walking on Water exhibition, was very simple and immediate. I entered the dome and stood in front of the geographical positioning system coordinates and I just saw the sea all around me and immediately felt serenity and calmness. The natural feeling you feel when you feel and look at the sea.

The next day, I entered again in the dome and discovered the power that the artwork had on me . I admit  I was very lucky because I had the opportunity to stand inside the dome alone, as the pavilion at that moment was still closed to visitors, an opportunity that I will never forget and that most of the visitors unfortunately will never have.

I stood next to the GPS coordinates watching the movement of the sea and listening to the sound of the waves and minutes later I felt it all;  all my feelings and all my perceptions about the sea and water were definitely real; in fact I was fluctuating-walking on water and I just let myself be carried away by water. I was standing in a maquette of the real sea, in front of the 360 degrees projection but it felt real! I was trying to walk on water. I couldn’t help but question: What is real? Is it a fact that I’m here standing in front of the projection real? and does that make my feelings real? or is it totally the opposite.

From that moment I understood what the Artist Mohammed Kazem was trying to communicate with his work. Indeed he was trying to challenge the limits and make the impossible possible. He was giving us the opportunity to travel and cross borders that are in fact totally unreal; they don’t exist in nature but continue to limit our cultural and social exchange.

The idea of Kazem is that at least we can always move from a point to another but in a conceptual way. His work Directions ( Walking on Chemnitz River), where the artist crossed a river by using coordinates sketched on some leaves, helped me a lot to understand more the meaning behind his last project. His purpose to challenge all limits is certainly clear. This can also be seen in the series Scratches where he is trying to capture the intangible and make it tangible on  paper.

Another concept that I personally found very interesting and powerful is the concept of the sea and of the water in general. Day by day I could see how people are living with water and the sea, and find us all similar in our reactions.  It doesn’t matter which nationality you are from, and which cultural background.  Between us there are definitely no borders.

indeed the concept of the sea remind us always of tranquility and personally it is always related to the sense of eternity. In fact the sea even if it’s always flowing and even if you will never fill a glass with the same water, is something that you will always find in the same place that you expect to find it. When all around you is changing, growing up and developing very quickly, the sea is the only thing that will always remain unchanged. It will give you peace, it will stabilize you. While everything surroundings us is changing and evolving, the sea is still there untouched.

Walking on water; an interaction between an Emirati and a Venetian perception | by Nidal Touma

Venice -the city of Art- with its well renowned biennial, is one of the most coveted global exposures for countries and artists alike

Several centuries ago, Veneti people exploited the marshy lagoon to –literally- find their land and create their city on water, and ever since water became a comfortable reality for Venetians. Houses, markets, daily life events are all well acclimatized to the water and the canals that spread all over the archipelagic city.

When it comes to Art and artistic production, water also inspired many artists with the magnificent Vedute of Venice and the beautiful Ca’s that became a recurring motif in works of prominent artists such as Canaletto among others, the canals also add a lot to the romantic scenes of the city with the famous Gondola excursions making it one of the preferred destinations for tourists.

For Venetians water is a Romantic reality and a daily ritual, or even their second nature !

Few thousand miles away, and despite the geographical similarity between Venice, Abu Dhabi and Dubai – since they are all formed of clusters of natural and/or man-made islands more or less- for the Emirati artist Mohammed Kazem it’s evident that the notion of water has a different sensitivity formed through one of his childhood experiences; when he had fell –unnoticed- of the boat and was lost at the open sea for around half an hour before he was relocated and saved by his friends.

Kazem’s “walking on water” brings a different perception to the daily Venetian habit of “walking” on water, a mildly disturbing one though !

We need to keep in mind here what the French artist George Braque once said: “The function of Art is to disturb… Science reassures.” Consequently we can deduct that the importance of Mohammed Kazem’s work derives exactly from its capacity to challenge the visitors’ comfortable perceptions of the water and introduce them to a new unsettling consciousness provoked by the artist, simultaneously the work is suggesting a new understanding and a new meaning to the modern notion of Global Positioning System coordinates.

“Walking on water” is part of Kazem’s series of conceptual art called: “Directions” which he started in 1999. By using GPS coordinates to document his location he endeavors to symbolically reference his very existence, he also tries to give a new meaning to the figures of the coordinates; (e.g. 25” 14.08 N  /  055” 14,30 E  /  0 Ft) might have no functional value except in the exact geographic spot where they were captured merely indicating a location on earth, But at the same time they bare an inner-story of that location and this is what gives them a meaning and a big Importance anywhere they traveled in the world.

With the simulator installation of “Walking on water” Mohammed Kazem attained a big success; he transmitted his personal experience through a 360 degree video projection, developed it into an artistic message, and put it on a global outreach… Kazem succeeded in actually realizing what the French artist Edgar Degas once said “Art is not what you see, but what you make others see”, and “others” here is not limited to Venetians, but it include the whole international publics visiting the biennial.

As illustrated before, the concept -which the solo artwork in the National pavilion of UAE stands for- is an interesting and smart juxtapose to one of the distinguished marks of Venice.

However examining this work along with the overall theme of the Biennale suggested by the curator Massimilano Gioni -revolving around the 1955 Marino Auriti’s design of a “Pallazo Enciclopedico”; an archive museum to document all knowledge and evolution of humanity and societies-… we can notice a diversion in the curatorial approach, which In my humble opinion is due to 2 main points:

– First: the concept of archiving of the past achievements of a nation, or its prominent landmarks, or the current traits of its modern society is not clearly evident through this type of conceptual artworks.

– Second: the context of water –even with its interesting critical approach- is not exactly specific to the United Arab Emirates, as it can be a tale from any country with and stretch of a coastline or even without coastlines.

Eventually I would like to say that this diversion in approach does not derogate at all of the value of Mohammed Kazem work and artistic message, nor of the curatorial efforts of Reem Fadda… it is just a different way to plot the United Arab Emirates participation in the 55th Biennial of Venice 2013 – 2014

A Personal Review: Walking on Water | by Sara Al Haddad

Observing as people walk towards the installation, sitting at the Pavilion’s booth suited right across from the title, people exclaim with a tone of enthusiasm, “Walking on Water!” The reoccurrence of this scene readjusted my perception of the works’ target audience; the mere title creates a connection with the viewer before seeing and interacting with the work.

Walking on Water is a 2mins long (on loop) video installation, exhibited in The International Art Exhibition La Biennale di Venezia in its 55th edition. Using 15 different projectors, the video is projected onto a dome-like architecture designed specifically for the installation. The projections arrangement allow for 360 degrees coverage of the work. Using a slanted elevation towards a fixed platform, one finds themselves facing what could easily be their own view from the middle of the ocean. A screen placed right in the middle of the ground indicates the global positioning system (GPS) of where the video was filmed. The sensation of being lost, the lack of ability to pin point one’s location is no longer a predominant thought. The viewer is able to delve into the endless destinations they could possibly reach to.

Mohammed Kazem’s video installation, “Walking on Water,” from his ongoing series “Directions” 2005/2013, was a result of his own personal venture in the ocean where he fell off a boat on a fishing trip and was forgotten for thirty minutes until his friends located him. Inspired by this incident, the use of GPS has become a predominant medium used in this series. The work, as Kazem describes, raises both political and social issues; allows to break communication barriers and for the viewer to think freely and on a broader aspect.

The on-going fisherman lifestyle in the United Arab Emirates, allowed to create a distinctive connection with the water and the work as an Emirati. The connection is very strong it limits, if not act as an indirect restriction, of what the work could possibly indicate otherwise. The relevance of the context is what plays a huge role in the understanding, relating and interacting with the work. The placement of the work in a city that is surrounded by water instinctively creates a connection between Venetians, its regular visitors and the work. Their form of transportation relies heavily on the use of vaporetto’s (water buses) and water taxi’s. Standing on the platform facing the projection of the sea, many people questioned the stability of the platform.

What I find most interesting is not the social or political aspects of the work, but rather its unspoken of religious attribute. The ability to walk on water is physically impossible. Viewing the work, one finds themselves floating on the water, the array of waves causing mobility within the horizon line between the sky and the water. The sound of the waves is a big part of the installation, as it emphasizes on the viewer’s mental location. Hearing the pavilion visitors exclaim “Walking on Water,” I couldn’t help but recall the prophet Moses’ story, wherein the sea split into two for him and his people to cross, as acknowledged by all three Abrahamic religions.

Would I have made this correlation if I were to experience this installation back in the UAE; how much does the location of the exhibited work has an effect on its meaning or what it can possibly mean? If the work was to be exhibited in the UAE, would the very same visitors experience the same sensation or would a country with a fisherman occupation reflect on how they perceive the work?  Whether it would or wouldn’t, a series of other bundled questions arise. Regardless of the course of thoughts, this testifies and reinforces the importance of the context in which the content is presented, which in this case has been the use of water.

Lost in Water | by Khawla Darwish

Experiencing a new journey in my life is walking on the waters of the beautiful city of Venice, when I first arrived I was taken by the magnificence and the era of this city, yet I was also scared of being lost between its narrow alley ways and waters. Just like our artist Mohammed Kazem’s experience being lost for half an hour in openness of the sea, therefore creating the brilliant work of “walking on water” to be featured at the 55th edition of the Venice Biennale, representing the Art scene of the United Arab Emirates Pavilion.

I can safely say that a common fear between humans is the fear of being lost, be it in space, directions, time or even thoughts. But being lost is only a journey of the human soul when we experience a new incident that opens the door to imagination, inspiration and creativity.

In my opinion the relevance between the city of Venice and the artwork of Mohammed Kazem is the fear of being lost at the beginning. As the solo artwork “walking on water” is a one of a kind encounter, which as titled promises the viewer an unforgettable experience that touches all the human senses not only the vision, but also hearing, feeling and touching, for the viewer is surrounded by a three hundred and sixty degree of open water. The effect of this particular art piece is intense and it pulls the viewer into another world of imagination, beauty and fear of not knowing what or where to go next, just like my first experience of this beautiful city Venice.

Narratives of Water: historically, socially and culturally | By Lorenzo Tel

Water in Islamic world

In many passages of the Koran water is a main theme in the cosmogony and Islamic iconography, as well as in the liturgy and in everyday life is a recurring topic. Water for the Islamic world isn’t so just divine; for the community of believers (Umma) it has practical meanings that go far beyond the religious symbolism; the water dispenser of life and material sustenance.

It is the source of all living things on Earth, the substance with which Allah created man. Water is a gift from God; every believer has the right to it as well as the other fundamental  elements: fire and grass (pasture, desert environment, symbolize the necessary sustenance for animals). No one can steal a good created by God in a way that could harm (or limitation of that very well) to others. Free access to water by man (and therefore the right to have in a reasonable amount) was  over time declined from Islamic doctrine more regularly, going so far as to specify a priority
in different needs:
-first of all there is the right to the primary need to quench your thirst of man;
-There is also that of their animals.
-Finally the right of irrigation fields.

The right to water is not a prerogative only of men, however. He is not the arbiter of fate of living beings; Instead, the keeper of creation, with very specific responsibilities; so even animals and plants have the right not to die of thirst, thus demonstrating an unexpected cut “environmental” Koranic teaching. In Islamic tradition, there is a rich literature on priorities in needs to be fulfilled, on the possibility of acquiring water rights, to exploit the sources, to be able to sell. Or, again, on how to maintain the wells and springs, crossing then legal rules with hygiene requirements
(prohibitions of human activities to prevent water contamination) and social ones (equitable sharing of water resources).

 Water in the Arab countries

The development of water resources is one of the challenges that the Arab countries will face in this century, especially due to the fact that our freshwater resources are decreasing.The Arab area, a tenth of which is desert, is considered one of the poorest areas of freshwater resources. Contains less than 1% of the planet’s surface fresh water and receives only 2% of the rain. But the problem of water in the Arab area is not only the problem of scarcity: it is also a problem of quality.
For various reasons the water quality is deteriorating and large amounts of water are becoming unusable. The problem of the shortage extends to all sources of water in the Arab world. The Arab world has three basic water resources: renewable surface water, groundwater, partially renewable and limited amounts of water artificially, like that produced by
desalination and purification plants. Rain is the most important way for renew the surface waters. Regarding non-conventional resources, desalination, a system that is used mainly by Libya and the Gulf countries, represents the 75% of the water consumed in the Gulf countries.
The water is critical to the Middle East with its extensions of the drylands, the ambitious economic development projects and a higher-than-average population growth. In the Arab area the water will become one of the leading, if not the main reason of confrontation when the voltage for the lack of water will increase under the impact of
population pressure and the demands of economic development.

The water issue will turn into a political problem, where freshwater resources become scarce. Water projects of countries at the source or along the tributaries of major rivers that provide 85% of fresh water available could be considered a threat. This threat and the specter of war would be greater if there were no international treaties relating to the rights
of use of international rivers or water if such treaties were overtaken by circumstances, thus requiring their revision or where there were international mechanisms with the power to compel habits or agreements on rights to use water. In other words, the problem of water in the Middle East is a national security issue.

Water scarcity not only hinders the ability to meet the immediate needs of the population, but stops the development and agricultural production, endangering food security. Without this protection the Arab countries cannot achieve economic self-sufficiency and, therefore, a real autonomy.
Starting from the second half of the 20th century, the Arab region had to maximize the use of the water and had to compete for more water to be able to face three main challenges:
– a rapid increase in population;
– agricultural expansion and industrial development in order to feed the growing population;
– the management of water resources.
You must also consider that the challenges are more complicated together. Demographic growth means that the population doubled in a short time and more and more quickly, which means that agricultural production must double in a short time and faster and faster and, as a result, even the water is consumed must increase the same way.
There is no wonder that, in an area with limited water resources, some countries with the power and ability to dominate water resources seek to check before their present and future needs and then try to use water as a weapon to bend other Nations at its will.
While the safety of the water supply is increasingly under threat and is going to become a critical resource, you can easily imagine that the water will become not only a key resource for agriculture and industrial development, but also the key to decide between life and death.

Water in Kazem’s work:  Walking on Water 

Walking means you have a direction, otherwise you don’t walk, you are wandering. But when you’re in the middle of the sea, you don’t have a direction, but an unstable position. On the water you walk without direction, but you can use a position but you’re in a boundless horizon. Walking on water is, therefore, navigating in the world within
you and outside of you at the same time. There is a way of navigation on a river and a way at sea; There is a kind of water that is sweet and a kind of water that is salty.

Along a river you look for sustenance and security: you have drinking water, water for agriculture, water from getting home to your toilet and vital needs. You use the River in the daytime now. What happens then at sea?
You can’t drink the water of the sea. At sea you do not have the safety of the shore. As soon as you leave your port, it opens in front of you a space and a time where it is the water that lays down the law, not the human being. In the sea a man/woman can only rely on his skill and hope to land in any destination, which will not be his country of origin but a
new land with new people.

The sea calms the thirst not to drink, but it pushes a man/woman to drink in different way. We thirst for knowledge, truth, justice and freedom. A restless soul and stormy swings between the waves of his heart and life. Inner dissatisfaction and desire to know and to meet cross in the lifeboat.
Often in life you travel and walk in the dark. The exhibition space of Kazem’s work is plunged into darkness. You have no stars above you. Under your feet you have only the numbers of the coordinates of your location. In front of you, the sea rocks. You are in an unstable balance, although the minimum safe place to rest your feet. you are in the bow. Alone you face the sea in motion, inside a dome that surrounds you in a . Inside the dome, a man/woman is facing the
sea of his/her life. Time flows forward, but you swing left and right. Questions and doubts arise. Where am I
going? Will I get ever or the sea will suck me among its waves? A man/woman sets sail in the night when he/she departs toward the unknown. The eyes are traitors. In the Sea you sniff the trail and you rely on your feelings generated by the sea. The sea speaks. The sea has an un-modulated language not as the human one. The sea speaks, you must learn to
listen to it.
In this way, water is a powerful evocative tool. The water attracts the nine months of gestation of the fetus in the mother’s womb. So who crosses the sea is as if he was born.

The sea is a place and a time of transition. It is not a hospitable place. The human being is thought for the Earth, he cannot live in water. When you have crossed the sea, you are no longer as before. The hardest thing is the fact the trip… spending days and days, confident even when the stars and moon are not seen. Sometimes the Moon reminds you that you’re
just a human being and the sea reminds you that you are so small, but you have an infinite desire to communicate beyond the confines of your land. You want to see and let you see,  You want to know and it lets you know.

The United Arab Emirates in this installation of the Biennale is traveling along the routes of this century. It is popping out to the art, which is a new sea, leaving behind the wilderness and skyscrapers. It doesn’t know where this navigation will take it, but surely the itinerary will lead it to a new world, always. It remains faithful to the sounds  of the ocean currents and winds.