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Jamouchi, Samira
(2024).
Rhizomatic connections.
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Jamouchi, Samira
(2024).
REVEAL THE BODY, TAKE CARE OF THE SPACE.
Show summary
Working with the ancestral craft technique of wool felting allows to be space and place conscious. In this project I combine wool felting and weaving.
Working with wool from a farm that I visited several times, meeting the owner, the sheep, the soil, and land where sheep evolve brings relationality to the natural environment from where the wool I felt, and weave comes from. Entering an intimate relation to raw wool when using my bare hands and feet to turn loosen fibres into an entangled felt textile brings me closer and gives me a deeper understanding of the pastoral land in the Alvdal region (place in Norway where I collect raw wool). Giving myself time to just being attentive in a situation of crafting, slow crafting enables to relate to my senses, my body, the natural material, its origin and emphasise that I am part of this world that both the sheep and I are inhabiting. It is almost like a meditative moment that brings me into a multisensory experience in an encounter with myself and engaging with wool fibres and it place of origine in Norway. This awareness comes from the position of letting to any sense of control of what the finished product should be. It is rather an intimate negotiation with the fibres, what we do to each other and this sensory dialogue cand lead us to. The only framework I had is a little frame that can look as anything else than a predetermined project. The dialogue like based relationship (as one of my earlier students expresses it) put the process in the front of the experience, rather than a will to turn the experience of wool felting into a pre-determined action and result. This non-hierarchical position, when animal fibres and my human-animal body are collaborating, brings a feeling togetherness. Togetherness with material’s environment, that are usually ignored or not possible to recognised when working with processed wool. One’s body in this kind of weaving with natural fibres can bring another kind of awareness, not only social among other people, but in a vast network relating to animals, the environment, and past and future time.
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Jamouchi, Samira
(2024).
Patterns of poetic practice as geographies ofself-in-relation.
Show summary
Those squares made in Mars 2024 are inspired by the topic of the workshop conducted at UBC. The thematic of patterns of poetic practice as geographies of self-in-relation. I like this topic very much.
My squares are related to my reading of the collaborative work of the French philosopher Gilles Deleuze and psychoanalyst Félix Guattari. I relate to their work and concepts like rhizome and chaos to poetic practices when making relations and experimenting intensities between the different landscapes I roam in my personal, academic, and artistic practices. I express those moments with dots and lines of different nature in the two squares, one with black drawings and one with red drawings. For both squares, I use handmade paper that I made a couple of years ago. The drawings are a simple re-presentation of a rhizomatic pattern. I use weaving technic to make this ‘agencement’, trying to capture the ever evolving and somehow chaotic connections with cotton threads that hold each parts together. The squares hold different materials, handmade paper, the ink of my drawings and cotton threads, as well as they hold different moments of the making of the materials used from different time-space.
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Jamouchi, Samira; Nygaard-Joki, Sonja & Hallman, Linda Anneth
(2024).
Sammenfiltring mellom skolebarn og ull fra norsk spelsau
.
Show summary
Norge produserer ca. fire millioner kilo med ull hvert år. Omtrent 75 prosent av all den ullen som produseres i Norge, ikke brukes i norsk industri. (en del sauebønder får så dårlig betalt for ullen at de heller brenner, kaster eller graver den ned i stedet for å levere den? Særlig gjelder det de sauebøndene som har de tradisjonelle norske sauerasene gammelnorsk sau, grå trøndersau og gammelnorsk spælsau med naturlig farget ull. Kilde: forskesonen.no)
Det er nettopp denne ulne kunstneren og førstelektor i kunst og handverk Samira Jamouchi tok med seg til Gimle skolen da hun møtt elevene på Gimle skole ble invitert til kroppslig og sanselig erfaring med ulltoving. Ull er et naturmateriale som er nedbrytbar, den blir til jord. Den inneholder ingen plastmateriale og forurenser ikke naturen, som vi er en del av og lever i. Ull er et material med mange interessante egenskaper som barna kan lære og bli kjent med gjennom direkte erfaring på den. Det er en utmerket måte å koble (skole)barn med naturen. Ved å ta med naturen inn i skolen. Når høgskolelektor Sonja Nygaard-Joki og rektor Linda Anneth Hallman samtaler med elevene 5 uker senere får vi vite at møte med rå ull var overaskende opplevelse.
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Jamouchi, Samira; Nygaard-Joki, Sonja & Hallman, Linda Anneth
(2024).
Berør og bli berørt av ullfiber.
Show summary
Rå ull skaper forbindelser mellom aktive kropper, i møte med duftende materiale. I denne faglig foredrag organisert som en workshopen inviteres du til aktiv deltakelse, der sansene vekkes uten sko og sokker. På lik linje med elevene på Gimle skole, får du være med på kroppslig og sanselig erfaring med ulltoving.
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Jamouchi, Samira
(2024).
Ullens prosessuelle tilblivelse i perfromance kunst.
Filteforening GRIMA.
ISSN 0908-6161.
p. 8–11.
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Jamouchi, Samira
(2024).
Growing naturly with the flow.
Show summary
Action in Beypore, Kerala, India, February 2024.
Whatever the final story may appear with the different colors and fabrics, it has the different emotions, the flavours, the gazes, and this generosity that can be achieved only through the gift of a square. During this action, in Kerala, the process evolved smoothly, in the first 2 days of the week we set up the project introduction using a table in Tasara open air exhibition, people came, artists from Tasara retreat and visitors of the exhibition, some of them took squares and gave it to us during the next 3 weeks, we also did same squares using indigo dye, some people enjoyed to use the indigo squares to start their stories, some other people took some indigo squares as a souvenir . During the waiting time we told other people about the project, one by one. In the last day we assembled the squares received in a panel.
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Bergstedt, Bosse; Jamouchi, Samira & Do, Lap-Xuan
(2023).
Roundtable as a playroom event and place of artistic becoming .
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Jamouchi, Samira & Do Nguyen, Lap Xuan
(2023).
While I'm Thinking About You and (Our) Togetherness.
Show summary
This performance is part of a collaborative series by Samira Jamouchi and Do-Nguyen Lap-Xuan. Presented during the Covid-related border closures, the performance took place at the Insea Baeza 2021 online conference in a tailored format. This rendition emphasises our exploration of multi-faceted roles as artists, researchers, and educators. While the individual performances occurred simultaneously but in different locations, they were live-streamed to a global audience. Within the academic context, our presentations aimed to transcend traditional lecture formats, morphing into a performance space that interweaves visual articles and live performances with textual elements. Our carefully crafted texts engage with the concept of open access to subjective knowledge, representing our endeavour to promote radical pedagogy.
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Jamouchi, Samira
(2023).
Cutting through an assemblage of other-less.
Show summary
This is an assemblage of photographs of wool felting and a flow of words I wrote and read aloud. It is an attempt at echoing images and sounds. It is yet another channel, with a video, to the phenomenon of wool felting.
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Jamouchi, Samira
(2023).
Skolebarn i møte med en kunstner-lærer. Å farge med og på naturmaterialer i en verden i tilblivelse.
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Jamouchi, Samira
(2023).
Min kombinert PhD i lys av håndverk i vår samtid.
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Jamouchi, Samira
(2023).
CRAFT, ART. EDUCATION. ON TOUCHING AND BEING TOUCHED IN OUR
ENCOUNTER WITH WOOL FELTING.
Show summary
This project is an on-going research related to the author practices as visual artist, educator and researcher. The investigation is conducted in several contexts, such as art institutions, as well as educational and research institutions. The theoretical and philosophical framework that structures this research is inspired by post-structuralism and new materialism. An approach that include the collaborative work of Gilles Deleuze and Félix Guattari (1980), as well as the theory of agential realism proposed by Karen Barad (2007). By using such framework, the structure of this inquiry includes rhizomatic connections (Deleuze and Guattari, 1980), and intra-action (Barad, 2007) in the researcher’s encounters with persons and materials in several artistic, educational and scholarly contexts.
The aims of these investigations in different contexts are wide reaching. But for this paper, attention is given to the idea of touch and being touched when working collectively with the ancestral technic of wool felting. Collectively here is thought as, and inspired by, contemporary artistic forms of expression that we find in performance art. This kind of performance art within visual arts is different from performing art, that can be closer to theatre. Thus, my purpose is to explore a performative approach to art in teacher education and give attention to the act(ion) of touch.
The result of this investigation reveals that students participating to a performative approach to wool felting experience a deeper involvement with materials, space, time and other participants (Jamouchi, 2023). As well as it suggests that the students gain self-awareness in such pedagogical practice.
A plausible conclusion is that the term ‘visual arts’ become too narrow to express what a performative approach to art and art education can include. This shortcoming has great impact in how we can teach what we have earlier called visual arts in teacher education. This in turn reveals a need to revisit how we assess students and what we value as knowledge in teacher education.
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Johansen, Ann-Kristin & Jamouchi, Samira
(2023).
Samira Jamouchi disputerer
.
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Jamouchi, Samira
(2023).
Artistic, educational, and scholarly research. A material-discourse with wool and words.
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Jamouchi, Samira
(2023).
Rhizomatic relations in visual arts making and art education
.
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Jamouchi, Samira
(2023).
MADE BY WOOL – what material does.
Show summary
“MADE BY WOOL – what material does” is a performance-lecture that sheds light on how visual art can be addressed in teacher education in a Norwegian context. The collective nature of craft practice, like in wool felting, can disturb and transform some expectation of personal or individual expression in art education. Working with the potential of togetherness in collective process, the meeting with materiality and large size project can go beyond individual intentions and expectations. A performative approach to wool felting can create unforeseen or not yet articulated thoughts.
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Jamouchi, Samira
(2023).
MADE BY WOOL – materialising our doing.
Show summary
“MADE BY WOOL – materialising our doing” is an artistic performance during which I invite the public to experiment actively and sensory with natural wool fibres. We play with new/other forms of co-creation and venture into the un-known of yet an iterative approach to the technique of wool felting. By doing so, this event allows the artist and the attendee to create together a laboratorium where materials and bodies in motion materialise the rhizomatic assemblage of our encounter.
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Jamouchi, Samira
(2023).
Artist-teacher in the meanders of the rhizomatic relation with(in) felting and worlding.
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Jamouchi, Samira
(2023).
Upcycling textile.
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Jamouchi, Samira
(2023).
Workshop med ull toving 16.10.2023.
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Jamouchi, Samira
(2023).
La fluidité des matières souples
.
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Jamouchi, Samira
(2023).
En performativ tilnærming til ulltoving. Når prosessen er like viktig som resultatet.
.
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Jamouchi, Samira
(2023).
Samira har tatt doktorgraden på ulltoving.
.
[Business/trade/industry journal].
https://forskning.no/kunst/samira-har-tatt-doktorgraden-pa-u.
Show summary
Samira har tatt doktorgraden på ulltoving. Hun undersøker den gjennom en performativ tilnærming tilnærming til materialet og teknikken.
Artikkelen er Skrevet av: Nina Kristiansen, Journalist ved Forkning.no
De første funnene av tovede tekstiler er 8000 år gamle. Toving er regnet som den første metoden mennesker tok i bruk for å lage tekstiler, ifølge snl.no. Det startet antagelig i Asia, og toving kan ha vært en tilfeldig oppfinnelse da noen så hvordan saueull filtrer seg sammen til et heldekkende lag. Vikingene brukte toving i seilene sine, men det er usikkert når teknikken kom hit til landet.
– Ulltoving er en urgammel teknikk. Og det er lavteknologi, for du trenger bare ull og varmt såpevann. Så er det bare å gni med hender eller føtter, sier Samira Jamouchi.
Hun utforsker og eksperimenterer med ulla og teknikken. Og hun er like mye opptatt av prosessen som resultatet. Jamouchi kaller det en performativ tilnærming til ulltoving.
Doktorgraden hennes ved Universitetet i Agder er den første i landet som kombinerer vitenskapelig forskning og visuell kunst.
Hun var utvekslingsstudent i Norge, der hun så ulltoving for første gang.
Tilbake i Brüssel fortalte hun professoren sin at hun ville tove en skulptur.
– Hun svarte nei det kan du ikke gjøre. Hun visste ingenting om toving og kjente heller ingen andre som kunne det, forteller Jamouchi.
Professoren ville ikke at Jamouchi skulle risikere å feile med et materiale og en teknikk som ingen kunne veilede henne i. Men Jamouchi hadde tro på prosjektet og ideen sin.
Jamouchi sorterte, vasket, rensket og kardet ulla selv i verkstedet. Det var begynnelsen på et liv som kunstner, forsker og lærer i ulltoving.
– Kunst i dag er ikke bare fysiske objekter, men også prosesser – som flere kan delta i, mener Samira Jamouchi.
Hun underviser lærerstudenter i kunst og håndverk og viser dem andre måter å lære elever om tekstiler: en tilnærming som løfter opp verdien av det som foregår i arbeidsprosessen.
– Målet er ikke bare å lage et produkt som ser fint ut, men like mye å møte materialet og hverandre. Jeg vil vise framtidige lærere at toving er mye mer enn å sitte stille på en stol å lage et sitteunderlag eller votter.
Ekkel og deilig ull
Barna kjenner jo ull fra før, men den som brukes i skolen, er ofte luktfri og ferdig bearbeidet. Jamouchi gir dem rå ull rett fra sauen.
– Ulla jeg bruker lukter og er ikke ferdig renset. Kanskje finner de litt sauelort eller gress. Det kobler materialet til dyret. Noen av barna synes ulla er ekkel, mens andre synes det er deilig. Så gjør de den første oppdagelsen – hvem de er i møte med naturmaterialer, sier Jamouchi.
Hvordan vurdere elevenes oppdagelser?
Hun mener skolen må finne fram til nye måter å vurdere faget kunst og håndverk. Hun er mest opptatt av det som skjer når vi går sammen om å lage noe når vi møter ulla og hverandre – det blir noe mer enn hver enkelt av oss kan gjøre alene.
– Skolen vurderer sluttproduktene som barna lager. Det er enklere å gjøre med et bilde ut fra det som ansees som riktig fargebruk og perspektiv. Men hvordan kan de vurdere barns oppdagelser og opplevelser? Hvilken karakter kan man sette på det? spør Jamouchi.
Vi kaster ull
– Spælsauen er ikke bare hvit, dermed kan ikke ulla farges og blir ikke brukt til garn. Men den har fine sjatteringer av grå, brun og svart.
Det er ikke mye penger å tjene på ull for sauebøndene.
Det vil hun gjøre noe med. Forskningen hennes går ut på å utforske hvordan den tradisjonelle tovingsmetoden kan brukes performativt i både kunst og undervisning.
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Jamouchi, Samira
(2023).
MADE BY WOOL. Feral Business Training Camp.
Show summary
Feral Business Training Camp - Momentum
June 15-18, 2023, Moss, Norway.
MADE BY WOOL can be described as a “business” infiltrating my practices of artist-researcher and artist-teacher. My business, or daily occupations, is a continuous questioning as for instance: How can material awareness and the repositioned /decentralized human reveal intra-actions with wool fibres in our entangled connections? When we explore the materiality of craft felting, what agency can emerge between teacher’s and students’ performative encounters with wool fibres?
A performative approach to wool felting is process-oriented, durational, explorative and experimental. It is a desire to meet each participants’ differences, similitudes and singularities. It is not an artistic or pedagogical act of sameness, but of differences and displacements. It is about touching wool and be touch in return by wool. It is about the rhizomatic relations created / emerging during a collective wool felting process.
Felting wool together becomes a performative action and an act of resistance that transcends the idea of labour as something solely pecuniary. The result of MADE BY WOOL is not only an object, as for instance cloth, carpets, or other utilitarian objects, which can be claimed as materials having only monetary value. MADE BY WOOL materialises relationships between human and non-human universe.
One of the reasons I would like to participate with it at Feral Business Training Camp - Momentum is because I am curious about how other work with radical and experimental business practice and how we can mutually inform, form or deform our practices. Further, I am interested in the relationship that can emerge with others, not knowing what we can become before materialising our encounters and knowing it together.
I like to interpret the feral as non-tamed moments and non-tamed ideas. Resisting a habit of making and thinking. Still I wonder: Is MADE BY WOOL becoming my ritournelle? I wish to experience with the participants of the camp how agency in performative wool felting can disturb what I have done before.
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Jamouchi, Samira & Salvo, Bianca
(2023).
THE INDIGENOUS GAZE. Decolonizing visual cultures, visual methodologies and decolonial strategies in contemporary visual arts.
Show summary
ARCHIVO is an independent research platform dedicated to photography and visual culture through research, editorial and curatorial activities. Perceiving history as a resource for alternative narratives, ARCHIVO PLATFORM engages in an in-depth understanding of photographic practice as well as its impact in knowledge production. It defines itself through the programming of diverse activities developed within an interdisciplinary research network and guest collaborators who contribute to traverse different disciplines and foster theoretical, practical and critical interventions, creating links between scholarship, artistic and cultural practices.
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Jamouchi, Samira & Do Nguyen, Lap-Xuan
(2023).
When I think about you and (our) differences.
Roundtable as a playroom event and place of artistic becoming
.
Show summary
Intro roundtable
The roundtable is organised both sequential and organically. We shall have two distinct but interconnected presentations. We inquire about relationships between art, artistic teaching, and artistic research through the framework of new materialism and post humanism.
The two presentations are also a visual and oral examples of a rhizomatic system between art, pedagogy, and research. Bosse, Lap-Xuan, and Samira take into action and take into account their works in their on-going process of entangled acts that reveal each other.
Second part of the presentation
The second presentation will integrate and build on the first one. Lap-Xuan and Samira will present a new phase of their performative talk series called: “When I think about you and…”. Their encounters grow as a rhizomatic network bringing process of exchanging the-knowns be-coming the-unknowns and vice versa. We embrace the intensity of our conversations in artistic talks and the unforeseen, as powerful moments evolve from a known past connected to a together becoming of the experienced moments. It is in this state of becoming as making-with that symbiosis takes us further.
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Jamouchi, Samira & Bergstedt, Bosse
(2023).
Playground for teachers, students and artists in practice. Roundtable as a playroom event and place of artistic becoming. .
Show summary
Intro to roundtable
The roundtable is organised both sequential and organically. We shall have two distinct but interconnected presentations. We inquire relationships between art, artistic teaching, and artistic research through the framework of new materialism and post humanism.
The two presentations are also a visual and oral example of a rhizomatic system between art, pedagogy and research. Bosse, Lap-Xuan and Samira take into action and take into account their works in their on-going process of entangled acts that reveal each other.
First part of the presentation to roundtable
The first presentation is held by Bosse and Samira. They will present a project about teacher students during their practices in Norwegian primary school. The aim of the project is to initiate a cross-institutional constellation between university college, primary school and the art collective Tenthaus. The aim of the project is to see how artists that work with the public with relevant socially engaged practice can add to, or how it can expend, an understanding of what art can do in school.
The form of their presentation in inspired by their theoretical / philosophical framework: Barad (2007), Deleuze and Guattari (1980), and Haraway (2016). Bosse and Samira will bring yarn/threads and words to the table. The words and threads will be entangled between the contributors and the audience. By doing so the making/playing with objects will facilitate intra-action with the audience to discuss the questions during the finissage (the closing part of the roundtable).
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Jamouchi, Samira
(2023).
La laine comme valeur artistique et culturelle.
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Jamouchi, Samira
(2023).
Shibori her og nå.
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Jamouchi, Samira
(2022).
Kunsttime med ull som material.
Show summary
Møteplassen i Ås sentrum på torsdager kl. 17.30-19.30 er et åpent tilbud for alle innbyggere, og særlig tilrettelagt for møter mellom flyktninger og innbyggere. Her møtes man helt uformelt (en fin anledning til å øve på å snakke norsk) og vi legger til rette for ulike kunst og kulturelle aktiviteter.
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Jamouchi, Samira
(2022).
Møteplassen med ull som material.
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Jamouchi, Samira
(2022).
Romeriksutstillingen 2022 Del 2.
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Jamouchi, Samira
(2022).
ROMERIKSUTSTILLINGEN 2022 Del 1.
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Jamouchi, Samira
(2022).
Artistic and scholarly work in teacher education .
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Jamouchi, Samira
(2022).
Between river and sky .
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Jamouchi, Samira; Klungland, Monica; Eriksen, Helen & Hauen, Mali
(2022).
Stitch Sisters. Time of material through wool. .
Show summary
This Stitch Sister performance lecture will invite participants into a material-collective practice. We
will experience the “time of material” through wool - from its extraction from the living body of the
sheep and onward in the creative processes such as carding, felting and weaving into a textile
artefact. This rhizomatic and entangled performative event aims suggests the materialization of
textile as much as collectivity and connectedness between the participants.
Material-collective practice is a term for an art and craft practice that contains a specific
understanding of the material, the collective and subject existence. The materials are given a
significant role in the process of making, and both human beings and the material world, as well as
time and space are created in a collective practice. The theoretical framework includes agential
realism and intra-action (Barad, 2007), and the notion of rhizomatic connections (Deleuze and
Guattari, 1980).
This praxis is relevant for artist/teacher student/participant situations. We see the presentation
contributing to the theme of the conference by inviting its public to act with us and the materials.
We insist on art as an action that goes beyond linguistic/semiotic interpretations.
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Jamouchi, Samira
(2022).
Art and artistic education .
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Jamouchi, Samira
(2022).
Materiality and co-making with wool fibres.
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Jamouchi, Samira
(2021).
Utstilling.
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Jamouchi, Samira
(2021).
Art(istic) education. Vitalising materiality though a performative approach.
Show summary
The topic of this paper is related to a performative approach in the subject of visual arts in teacher education. The aim of my research is to unveil how a performative approach is experienced by teacher training students. A performative approach to materials focuses on the working process, as the co-making between the students seems to engender a sense of belonging and togetherness.
The theoretical framework is inspired by post-structuralist and new materialist approaches. Barad (2007) proposes that the primary ontological unit is a phenomenon. This suggest that the researcher bring her/his attention to intra-action produced by the event. In my study, this means how a felting proses allows non-predeterminate actions. Furthermore, the event takes in account both human and non-human components: as for instance bodies, wool fibres, water, space, time, and the fragrance of pine soap.
Deleuze and Guattari (1980) use the notion of rhizome as non-linear and non-hierarchical formations in their philosophical work. A network that is defined by changeable territories, states of becoming and intensities. Moments of affect that transform our understanding of the world, that we are a part of, and a transforming understanding of ourselves. In my study the rhizomatic network encompasses the vitality of our felting/working process. It is about how the phenomenon of felting generates changing relations between the materials and the persons.
I use a material-discursive (Barad, 2007) methodology in the analyses of my material. Barad (2007) emphasises the entangled inseparability of discourse and materiality. For Barad, materiality is not a separate and static unit, materiality is rather dynamically components produced in situ; it is “not a thing but a doing” (Barad, 2007, p. 151). I look at my data/material through the lens of what happen during the felting session and what it does to us, more than explaining the technical aspects of felt production.
The results of this research, from a Norwegian context, suggest that a performative approach to material, in this case wool, can enrich students understanding of what the school subject of arts and crafts can be. In other words, a performative approach broadens their practical and pedagogical knowledge.
Barad, Karen (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press.
Deleuze, Gilles and Guattari, Félix (1980) Capitalisme et schizophrénie 2. Mille plateaux. France: Les Éditions de minuit.
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Jamouchi, Samira
(2021).
Wool felting as a collective practice. .
Show summary
For Performing Tangier 2021, I wish to see if, and eventually how, I can relate my work to (non-religious) halaqa. Engaging with a performative approach to art making and art teaching, I address the phenomenon of wool felting, as a collective practice involving both the artist-teacher-researcher and students/public in iterative actions. In a similar way, the halaqa is described as highly interactive and evolving according the responses of the viewers (Amin, 2000, p. 67). This opens for the hypothesis that, beside contemporary performance art, one can find inspiration in Moroccan performance heritage.
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Jamouchi, Samira
(2021).
Art(istic) approach to teacher training. A performative experience of wool felting with international students.
Show summary
My interests, as an artist, educator and researcher are related to the different possibilities to approach materials through bodily /embodied experiences, as well as students’ shared experience of materials and creative processes.
The starting point of this proposal is a performative approach to wool felting with a group of international students in Norway.
Felt is the oldest form of fabric known to humankind . Felt is a non-woven fabric made primarily out of animal fibres, by turning animal hair, usually wool, into felt. The wool is washed, carded, and pulled to loosen the fibres, which are then arranged and overlaid. Water and soap are applied to open up the fibres. Then, by means of steps including manual compression, rubbing, squeezing, palming, and rolling, the loosened fibres are densely entangled and bound together into a coherent and stable flat form. Wet felting generates collaborative experiences, involves a great deal of physical manipulation and lends itself to group participation.
Experience is a central and crucial moment in the visual arts subject at school (Dewey 1987), and materials can provide a vital impulse to undertake a creative process (Ross, 1978).
Oftedal (2012) writes that art as aesthetic experience can be approached from the texts of the philosophers Jacques Ransières and John Dewey. Both Rancière and Dewey point out that the aesthetic experience is about inner activity that is both creative and critical (Oftedal, 2012).
In English, as well as in French, the word experience means both experience and experiment. Experimentation is to try out new processes, methods, techniques and combinations, 'Without aim or end' (Deleuze & Guattari 1983, p. 371, here in Adrian Parr, 2010, p. 93).
The notion of intra-action introduced by Barad (2003), in contrast with the more usual term interaction which suppose the prior existence of independent entities, emphasizes the relationship emerging within the relationship, not prior and/or independently from it (Barad 2003, p. 815). “In other words, relata do not preexist relations; rather, relata within- phenomena emerge through specific intra-actions” (ibid.). I deem the notion of intra-action relevant here in connection to performance and experience. It underlines the idea of action and experience as unique moments of discovery.
An important aspect of this project is to address the artist-teacher potentials to invite students into a performative approach to the visual arts subject, when experiencing with wool felting. Subsequently I address two research questions related to artistic practices, and didactical practices in the visual arts subject.
1) How can artistic practice be used to create an intra-active teaching practice in the visual arts subject?
2) What experiences and experiments can students get through a performative approach to wool felting in visual arts subject?
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Jamouchi, Samira
(2021).
Løk til kulinariske og estetiske opplevelser.
Show summary
Tid, rom og materialer
Dette er et prosjekt som strekker seg i tid. Vi skal fokusere på modningstid på ulike måter. Vi begynner med å plante løk før sommeren i nærheten av P1 – Mobilt Atelier og skolen. Vi plukker løkene tidlig i høstsemester når de er modne og kan brukes til å lage løksuppe. Også forbereder vi materialet til innfarging, som er blant annet å lage små shibori blokker i tremateriale.
Møte med/gjennom kunstprosjekt som strekker seg i tid, fremfor et opplegg som varer bare i noen timer, gir elevene, læreren og kunstneren muligheten til å bli bedre kjent med hver andre. Vi snakker om elevenes hverdag og kunstnerens hverdag. Samtaler går gjerne på temaer som deltagerne er interessert i, både innen kunst / kunstneriske prosesser, estetiske opplevelser, men også andre temaer som betyr noe for deltagerne.
Innenfor en lengre tidsrammen, et rom utenfor klasserom, og direkte relasjoner til og kunnskaper om naturmaterialer, kan det oppstår et dynamisk og helhetlig læringsforløp.
Vi kommer oss ut, møter naturen / andre omgivelser som setter andre «hierarkiske» og tatt for gitt forhold mellom deltagerne. Klasserommet og dets utforming for lærer/elev forhold er borte. Kroppen brukes på en annen måte, vi sitter ikke på en stol: vi bruker mer enn bare hånd eller håndledd, vi beveger oss, flere sanser tas i bruk, vi lukter og smaker på materialet. Vi eksperimenterer mer enn det å følge en gitt oppskrift.
Slik læringsprosesser, som rommer kunstneriske opplevelser og verdens orientert refleksjoner, utvider tradisjonelle kunnskapsdanning fra objekt- og verksbasert forståelse, til verden/samfunnsbasert kompetanser.
Bringe store/globale bærekraftige spørsmål til lokale miljø
Innfarging av naturmaterialer (tekstiler laget av ull eller silke) gjøres med naturmaterialer som vanligvis ansees som avfall: løkskall. En del av prosjektet er å lage løksuppe sammen og spise den sammen: et møtepunkt for dialoger.
Vi tar være på (mat)avfallet, og ser potensialer i løkskall som et steg mot en bærekraftig utvikling / tankegang i eget kjøkken. Vi jobber med praktiske handling fremfor fortelling. Prosjektet viser konkret, gjennom førsthåndserfaring, hvordan man handle bærekraftig, ikke bare ved å fortelle hva bærekraftig tangegang handler om.
På denne måte åpner prosjektet for bevisstgjøring / tydeliggjøring av at vi er en del av et miljø: vi er mennesker i / av / fra verden. Kunnskapen som dannes i slike estetiske og etiske prosesser har betydning hvordan vi kan forholde til omverden.
Dette opplegget er opplevelsesbasert og i dialog mellom deltagerne gjennom kulinariske og estetiske opplevelser. Prosjektet nærer oss gjennom mat, visuelle estetiske elementer, og ikke minst gir næring for refleksjoner rundt naturmaterialer og vårt forhold til hverandre og omverden.
Bruk av eldgammel tradisjon og digitalt verktøy
Vi skal bruke shibori som innfargingsteknikk. Teknikken går på å reservere deler av tekstilen for farge med trebrikker som skaper monster. Monsteret blir repeteres langs tekstilen fordi den brettes før bokken legges på og strammes med klemmer. Man kan eksperimenter med ulike måter å farge testikler med forskjellige størrelser og monster.
Shibori er en eldgammel teknikk, som på japansk og betyr å brette. Dette er en litt annerledes måte å farge tekstiler på, med treblokker. Shibori innfarging gir strammere og litt mer geometriske mønster enn tie-dye metoden.
En del av prosjektet vil være å bruke digitalt verktøy: Elevene lager «digital tidskapsel» som man overføre til neste generasjon elever. Her fokuserer vi på de estetiske og poetiske sider av prosjektet (ikke bare det tekniske). En digital tidskapsel er en kort video som redigeres med utgangspunkt i stillbilder og små videopptak tatt under prosjektet / arbeidsprosessen.
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Jamouchi, Samira & Nguyen Do, Lap-Xuan
(2021).
While I am thinking about you and our togetherness.
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Jamouchi, Samira & Dybvikstrand, Trine Sofie
(2021).
Performative passages into colour theory/teaching.
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Eriksen, Helen; Klungland, Monica & Jamouchi, Samira
(2021).
Forskning i Praksisfeltet.
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Jamouchi, Samira
(2020).
Fra paperpresentasjon til bokkapittel.
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Samira Jamouchi, kunstner og førstelektor i faget kunst og håndverk ved Avdeling for lærerutdanning ved Høgskolen i Østfold, presenterte FoU arbeid på en nasjonal konferanse i Bergen i januar 2020, som skulle bli et kapittel i en ny bok om matkultur og barnelitteratur.
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Jamouchi, Samira
(2020).
Tekstil, fiber og komposisjoner. Samhandling og affekt i handlinger.
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Jeg kaller noen av arbeidene mine "vegg objekter". Disse har estetiske kvaliteter som jeg jobber med bevist under en skapende prosess i møte med materialet under de ulike fasene i prosessen. Sette ull lag på lag, komponere med fargene, gir en liten friksjon til de løse fibrene før jeg våter dem, klemmer og gnir forsiktig det som skal sammenfiltres under hendene mine i bevegelser.
Jeg har andre tovede / filtet arbeider som har gjennomgått en annen type prosess med andre potensialer, som relasjonell estetikk. Denne prosessen er mer performativ. Det betyr blant annet det å møte andre gjennom en samhandling (fremfor et samarbeid), som involverer oss på en lekende måte og bringen kanskje en annerledes forståelse av en selv i møte med natur materialer (ull fiber og vann), under den tiden det tar å forvandle løse fiber til sammenfiltret masse. Varsomhet, nærhet og varighet er nøkkelord her.
Jeg tenker å ha noen bilder som viser til en performativ arbeidsprosess og tekster hentet fra tilbakemelding fra personer som deltok på slike performative arbeidsprosesser. Disse bilder og tekster er fra tidligere prosjekter i Norge, Spania, Canada og Vietnam.
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Jamouchi, Samira
(2020).
Samira Jamouchi stiller ut på Galleri Rød.
[Internet].
Halden Kandusi.
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Fredag 23. oktober åpner Halden kunstforening utstillingen Tekstiler, fibre og komposisjoner – Samhandling og affekt i handlinger på Galleri Rød med kunstner Samira Jamouchi. Samira skal vise frem ulike tovede arbeider i utstillingen.
Det er sen ettermiddag på Galleri Rød. Ute detter regnet ned, men inne i galleriet er Samira Jamouchi er i ferd med å flytte inn sine kunsteriske kreasjoner. Rundt i lokalene ligger store og små ruller med ullfilter pakket inn i plast.
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Jamouchi, Samira
(2020).
Samira stiller ut på Galleri Rød.
[Internet].
Halden Arbeiderblad.
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Halden Kunstforening åpner en spennende utstilling på Galleri Rød førstkommende helg. Utstillingen har tittel «Tekstiler, fibre og komposisjoner. Samhandling og affekt i handlinger» og Samira Jamouchi er kunstneren. Hun arbeider for øvrig som førstelektor i visuell kunst ved Høgskolen i Østfold.
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Jamouchi, Samira
(2020).
Samira Jamouchi, artiste, chercheur et professeur en arts visuels en Norvège.
[Internet].
Awacer TV, Maroc.
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Jamouchi, Samira
(2020).
Performative practices in art making and teaching - concern in context(s).
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Jamouchi, Samira
(2020).
Tekstiler, fibre og komposisjoner: Samhandling og affekt i handlinger.
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Jamouchi, Samira
(2020).
Samira Jamouchi, un regard d’artiste sur la migration.
[Journal].
Marokko.
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Artiste, performeuse, chercheuse et enseignante, Samira Jamouchi est née et a grandi à Bruxelles. Elle s’intéresse dans ses travaux artistiques à la migration marocaine et africaine vers l’Europe et à l’installation des ressortissants étrangers au Maroc.
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Rifki, Aziz & Jamouchi, Samira
(2020).
L’image réelle et imaginaire du Maroc dans l’art et la littérature.
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L’espace « Agora » du pavillon du Conseil de la communauté marocaine à l’étranger (CCME) au salon du livre de Casablanca a abrité, mercredi 12 février 2020, une table-ronde sur « l’image réelle et imaginaire du Maroc dans l’art et la littérature ».
Youssef Aït Hammou, chercheur en linguistique et sémiologie, Khalid Amine, président du Centre international des études de spectacle à Tanger, Fatima Hal, cheffe cuisinière marocaine et anthropologue, Samira Jamouchi, professeur chercheur en arts visuels en Norvège et Rachid Santaki, romancier et scénariste en France, sont intervenus à cette rencontre modérée par Abdelghani Dadès, membre du CCME.
Samira Jamouchi pense, quant à elle, que toutes « les sociétés dans lesquelles nous vivons ne sont pas permanentes mais changeantes selon le développement de la population, où le travail de l’artiste est de reproduire nos réalités ou de les recréer en s’inspirant des espaces relationnelles ». Elle explique que « quelque soit où nous évoluons, nous vivons dans l’espace euclidien qui est mesurable et l’espace topologique qui est relationnel et affectif »
Elle présente dans son exposé « le Maroc est un espace d’expériences diverses inspirant plusieurs artistes étrangers ». Elle cite alors des artistes comme Delacroix, considéré comme le représentant de l’orientalisme qui fait référence au Maroc comme une source inépuisable d’inspiration dans son savoir-vivre, le décrivant comme une terre d’hospitalité et de spectacles urbains. Elle évoque également le peintre Jacques Azema, qui exploite les couleurs et les ombres du quotidien marocain et Yves-saint Laurent qui s’est approprié la culture de la ville de Marrakech pour mettre en oeuvre « ses célèbres costumes et pour créer ses modèles ». Parmi les artistes scandinaves inspirés par le Maroc elle cite Thorbjørn Egner, dramaturge et illustrateur norvégien, « qui s’est épris dans ses écrits de la ville d’Essaouira ».
Dans son travail, Samira Jamouchi explore à travers l’écriture et la photographie la migration marocaine et africaine vers l’Europe et « ce cimetière qu’est devenu le détroit qui sépare les deux continents » d’une part et l’installation de ressortissants étrangers au Maroc d’autre part. « Des déplacements appelés « déménagement » quand ils sont du nord vers le sud et « immigration ou fuite » quand ils sont du sud vers le nord », déplore la chercheuse marocaine. Elle présente donc un travail fait, entre autres, sur la base d’interviews avec des Français installés au Maroc, montrant que « le désir de partir fait partie de l’être humain qui tend par le déplacement à découvrir d’autres réalités du monde dans lequel nous vivons ».
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Jamouchi, Samira & Klungland, Monica
(2020).
Performativ tilnærming til materialer og teknikker i kunst & håndverk.
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Jamouchi, Samira
(2020).
Mat(rester), estetikk og etikk .
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Jamouchi, Samira
(2020).
Images du Maroc d’antan et trois narrations de notre temps .
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Jamouchi, Samira
(2019).
Result of our encounters.
Show summary
Result of our encounters
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Jamouchi, Samira
(2019).
Vagues horisontales.
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Jamouchi, Samira
(2019).
Interférence.
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Jamouchi, Samira
(2019).
Meeting through iterative gestures of felting. Other contexts, other encounters.
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Jamouchi, Samira
(2019).
Medlemsutstilling.
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Jamouchi, Samira
(2019).
About exploring art and craft in teacher education whilst going toward a performative approach: some reflection on re-turning and engaging diffractively with felting wool .
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Illeris, Helene; Kallio-Tavin, Mira; Klungland, Monica; Jamouchi, Samira; Godin, Marie-Andrée & Pinto, Tiago
[Show all 7 contributors for this article]
(2019).
Artistic inquiry in the making
– experiences from a Nordic doctoral course performing research in a local setting.
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Illeris, Helene; Klungland, Monica; Jamouchi, Samira & Eriksen, Helen
(2019).
Inhabiting materials – making rhythm – exploring community.
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Jamouchi, Samira
(2019).
Inhabiting / Living Practice.
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Jamouchi, Samira
(2019).
A performance Talk by Lap-Xuan and Samira.
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Jamouchi, Samira
(2019).
Felting wool together and feeling togetherness. A performative approach to visual art.
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Jamouchi, Samira
(2019).
Unfolding aspects of affects. Building relations through a performative approach to art education. .
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Jamouchi, Samira
(2019).
En kort introduksjon til installasjon og performans kunst.
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Jamouchi, Samira
(2019).
Forvandling, tid og prosesser i våre hender.
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Jamouchi, Samira
(2019).
Intersection.
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Jamouchi, Samira
(2019).
Interferances.
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Jamouchi, Samira
(2019).
On performativity - Process and product: Looking at the value of making/doing.
As a part of intercultural approaches to Circus, Childlore, Performance ans Installation as a tool in Educational context.
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Jamouchi, Samira
(2019).
Tekstil som sosial material (Textile as social material).
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Jamouchi, Samira
(2019).
Forvandlinger og ullfiber: En performativ tilnærming til faget kunst og håndverk.
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Jamouchi, Samira
(2018).
Ambiguous equilibrium.
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Jamouchi, Samira
(2018).
Inviting teacher students to an embodied meeting with felted wool.
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Jamouchi, Samira
(2018).
Faglig og kreativ inspirasjon i Brussel.
[Internet].
http://osloregion.org .
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Faglig og kreativ inspirasjon i Brussel
I perioden 1.-12. Oktober har Samira Jamouchi hospitert ved Osloregionens Europakontor i Brussel. Jamouchi er visuell kunstner, og jobber som førstelektor i faget kunst og håndverk ved OsloMet – Storbyuniversitetet, fakultet for lærerutdanning og internasjonale studier.
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Jamouchi, Samira
(2018).
Kropper og materialer: Vitalisere og visualisere tilblivelse i samhandling.
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Jamouchi, Samira; Illeris, Helene; Jortveit, Anne Karin; Skregelid, Lisbet & Blaszczyk-Podowska (Dosent), Jadwiga
(2023).
A performative approach to wool felting : Rhizomatic relations in visual arts making and art education.
University of Agder.
ISSN 978-82-8427-130-9.
Full text in Research Archive
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As the first combined dissertation in Fine Arts with the specialisation Arts in context submitted to the University of Agder, comprising artistic and scientific works, this research evolves between artistic and written acts. It is a performative exploration of a performative approach to the ancestral technique of wool felting. The dissertation includes six explorations: three public exhibitions, three articles, and a 7th element consisting of a series of ongoing ‘minor’ moments related to the topic of the thesis that I carry out in my everyday practices as an artist, teacher and researcher. Alongside with that, I provide a mantle that is a metatext of the dissertation. In dialogue with the works of Deleuze and Guattari (1980) and Barad (2007), I use concepts that denote a theoretical and philosophical position inspired by an ontology of immanence and agential realism. The pedagogical stance of this research acknowledges Atkinson’s (2015) ideas on the adventure of pedagogy that brings forward the notion of the ‘not-known’.
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