DHAHRAN: șÚÁÏÉçÇű is presenting âGood Waterâ at the London Design Biennale, which runs until June 29 at the UK capitalâs Somerset House.Â
The Saudi National Pavilion â commissioned by the Architecture and Design Commission supported by the Ministry of Culture, and presented under the leadership of commission CEO Sumayah Al-Solaiman â examines water systems, accessibility, equity and scarcity.Â
âIn a biennale that explores the intersection of inner experiences and external influences, âGood Waterâ reflects the spirit of inquiry we hope to share with the world,â Al-Solaiman said in a statement. âWith this pavilion, we are proud to support the next generation of Saudi practitioners and provide platforms that amplify their voices on the international stage.âÂ
The pavilion's design team - Clockwise from top left - Dur Kattan, Aziz Jamal, Fahad bin Naif, and Alaa Tarabzouni. (Supplied)
Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif and Aziz Jamal worked as co-curators, collaborating across various disciplines.Â
âIn this team, we donât have specific roles,â Jamal told Arab News. âWe all collaborated on everything. For example, the video, we all shot together â we all wrote together. We all have different backgrounds in the arts sector but weâve worked together (in the Saudi art scene) for the past five years; itâs more of a democratic process and thereâs no strict guidelines.âÂ
At the heart of âGood Waterâ is the sabeel, a traditional water fountain usually placed and funded privately in a shaded outdoor communal space. It is meant for use by anyone in the community, free of charge.âŻÂ
The sabeel is an enduring symbol of hospitality and generosity, deeply rooted in the Arabian Peninsula and found in many spots throughout the Middle East.Â
A sabeel fountain in șÚÁÏÉçÇű. (Photo by Aziz Jamal - Courtesy of the Architecture and Design Commission)
âGrowing up in Dhahran, you would see sabeels everywhere. Our house didnât have one, but there was a mosque in front of our house that had one,â Jamal said.Â
The London installation strips the sabeel of nostalgia and recenters it as a contemporary, working object. Visitors are invited to fill their cups as they pause to reflect on the often unseen systems, labor and energy that make the flowing âfreeâ water possible.Â
Stacks of paper cups will be provided, bearing the message âGood Water: 500 ml = one AI promptâ in vibrant color. There will also be refillable water bottles so spectators can have a âwater-cooler momentâ to chat, sip and ponder.âŻÂ
The pavilion also features four short videos filmed at an old water factory in Riyadh, showing the painstaking journey of water from droplet to distribution. The screens trace the production process across different sizes of bottles.Â
Jamalâs relationship with water has shifted since he started working on this project.âŻÂ
A water delivery truck in șÚÁÏÉçÇű. (Photo by Aziz Jamal - Courtesy of the Architecture and Design Commission)
âI have to say, going to visit the water factory (in Riyadh) and seeing the enormous effort that it takes to fill up one tiny water bottle, you donât take that effort for granted anymore, because itâs not just a matter of getting the water filled up; itâs testing it, going through inspection, doing all the mineral checks,â he said. âBefore, if there was a little bit of water in my water bottle, Iâd just leave it, but now I make it a point to drink (it) all ⊠to finish the bottle. It has made me more conscious of every drop.âÂ
Jamalâs aim is for visitors to the pavilion to reach that same realization.Â
âWhat I really hope for is for people to interact with the piece,â he said. âWe want that act of generosity to come through and we want people to drink the water.â He noted that the sabeel in London will dispense locally sourced water, not imported.âŻÂ
A catalogue written by the curators will also be available, offering further context in the form of essays, research material and images of water infrastructure and sabeels from across the Middle East and North Africa region.âŻÂ
șÚÁÏÉçÇű is one of the most water-scarce countries in the world and the largest producer of desalinated water globally, supplying over 60 percent of its potable water, according to the Saudi Pavilion teamâs research.Â
âWe thought (the sabeel) was a perfect symbol of the attitude and the general principle behind this concept of water as a human right and not as a luxury,â Jamal said. âItâs free drinking water, but itâs from a private source. So we felt it really encompassed this phenomenon of paying it forward and offering water to people who donât have access to it.âÂ
With âGood Water,â the Saudi National Pavilion puts this scarcity â and the labor behind everyday hydration â center stage.Â
âOur research was about water and access to water,â Jamal explained. âWhen we were first conceptualizing the piece for the London Biennale, we were looking at the infrastructure and water and access and whatâs the hidden cost of free water in Saudi â and specifically looking at the objective of a sabeel: What does this act of generosity and act of making water into a human right mean? And what is the hidden cost of that?âÂ
Though the widespread distribution of plastic bottles has displaced the sabeel to some extent, Jamal emphasized its enduring relevance, especially in a country with scorching summers and sizeable outdoor workforces.Â
âPeople are on the go, so they need something convenient,â he said. âI donât think water bottles have killed off sabeels completely. A lot of the workforce in Saudi still use it all the time. Itâs not just drinking water, itâs cold drinking water, and in Saudi thatâs very important.âÂ