Maria Nørholm Ramouk

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	<title>Maria Nørholm Ramouk</title>
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	<description>Maria Nørholm Ramouk</description>
	<pubDate>Fri, 10 Apr 2026 06:48:33 +0000</pubDate>
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		<title>Home</title>
				
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		<pubDate>Sun, 04 Dec 2022 20:31:48 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

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	Maria Nørholm Ramoukماريا نورهم الرموك&#38;nbsp;APRIL, 2026 -&#38;gt; THIS PAGE IS CURRENTLY BEING UPDATED. THANK YOU FOR YOUR INTEREST :-) &#38;nbsp; &#38;nbsp; &#38;nbsp;


	ABOUT


	WORKS
	CV
	PRESS
	︎︎︎︎

	DK


Jeg er Maria Nørholm Ramouk (f. 1991). Jeg har en Master of Fine Arts (MFA) og en Minor i Kunst, Skrift og Forskning fra Det Kgl. Danske Kunstakademis Billedkunstskoler (2013-2019). Min kunstneriske praksis er funderet i min marokkansk-danske arv, min position og mit ansvar. Gennem min praksis undersøger jeg relationer mellem socioøkonomiske kontekster, sociokulturel arv, arkiver, researchtilgange og diasporiske narrativer. Dette gennem stedsspecifikke installationer, offentlige udsmykninger, undervisning, transformativ mobil arkitektur og kollektive gatherings og med medier som plantefarvede tekstiler, tekster, film/fotografi, “overskudsmaterialer” som fx jord og nyligst papirstøbningsprocesser. Jeg arbejder også på en film. Min researchtilgang er funderet i Indigenous Research Methodologies og tager desuden udgangspunkt i gensidige læringsprocesser, der anerkender kollektiv viden fremfor “det enkelte geni”.


ENI am Maria Nørholm Ramouk (b. 1991). I hold a Master of Fine Arts (MFA) and a Minor in Art, Writing and Research from The Royal Danish Academy of Fine Arts (2013-2019). My artistic practice is grounded in my Moroccan-Danish heritage, my position and my responsibility. Through my practice, I examine the relations between socioeconomic contexts, sociocultural heritage, archives, research approaches and diasporic narratives. This is explored through site-specific installations, public commissions, teachings, transformative mobile architecture and collective gatherings&#38;nbsp; and with materials such as plant-dyed textiles, texts, film/photography, “surplus materials” such as soil and (newly) paper-making-processes. I also work on a film. My research approach is founded in Indigenous Research Methodologies and emphasizes mutual learning processes, rejecting the notion of the “individual genius”.

العربية الفصحىالفنانة ماریا نورھولم راموك ، المقیمة في كوبنھاغن ، تعمل بشكل رئیسي في الدنمارك والمغرب
باستخدام تاریخ عائلتھا كأساس لعملھا ، تبحث راموك عن مدى تأثیر موارد المجتمعات على ھویتنا ، وكیف یتم تنظیم ھذه
المجموعات داخلًیا

						ما یذھل راموك ھو كیف أن السیاقات الإجتماعیة والتراث الإجتماعي والموارد والعلاقات الثقافیة متشابكة
المواضیع التي یتم التطرق إلیھا في أعمال راموك ھي العزلة و الأمان داخل المجتمع والتكرار
تقدم عادة أعمالھا في وسائل الإعلام على شكل أداء و نص و تجھیز

					
	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


	© Maria Nørholm Ramouk, 2026
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		<title>Halemto bikom, antom dayman hadiroun (I dream of you, you are always present)</title>
				
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		<pubDate>Tue, 30 Sep 2025 10:04:43 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

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	ABOUT
	WORKS
	CV
	PRESS
	︎︎︎︎

	Halemto bikom, antom dayman hadiroun (I dream of you, you are always present)

Permanent public installation (camp fire)


Located at På Den Anden Side, Møn, Denmark, 2025
Will officially be inagurated in June, 2026
Commisioned by Hosting Lands
Materials: Field stones, left-over soil
Dimensions: 15m
Documentation:&#38;nbsp;Elisabeth Kiss, Balz Isler, Maria Nørholm Ramouk


Supported by: Statens Kunstfond, Bikubenfonden


Video presentation of the project is to be found here (I DO ART Agency)
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		<title>Drop by Drop, the River Rises</title>
				
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		<pubDate>Mon, 22 Sep 2025 12:33:03 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

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		<description>&#38;lt;- Home&#38;nbsp; &#38;nbsp; &#38;lt;- Works
Drop by Drop, the River Rises (Nkta b nkta, tayhml lwad) 
نقطة بنقطة تيحمل الواد
	

Installation at Fiolstræde, University Library, Copenhagen (DK)
Part of the group show RECAST.&#38;nbsp;RECAST is part of the Moving Monuments research project
Curated by Amalie Skovmøller, Ida Højgaard Thjømøe, Mathias Danbolt
Materials: Textiles, Reseda luteola, Madder root, Indigo, mattresses
Dimensions: Variable
Documentation: I DO ART AgencySupported by: The New Carlsberg Foundation, the 15. Juni Foundation, the 
Augustinus Foundation, the Danish Arts Foundation, the Aage and Johanne 
Louis-Hansens Foundation, Knud Højgård's Foundation
Video documentation of process and concept is to be found here (I DO ART Agency)

ENG
RECAST is organised to mark the 150th anniversary of women’s admission to the University of Copenhagen. However, it is not only a commemoration of a historical milestone, but also an invitation to imagine new futures for both the university and society at large.


RECAST&#38;nbsp;invites 13 contemporary artists to rethink and 
challenge the monument tradition of Copenhagen Unicersity, which has for centuries materialised 
what people and events we as a society honour and commemorate. A 
selection of the university's historical busts have been relocated to 
the University Library, where they are brought into dialogue with new 
contemporary artworks


RECAST is not just a celebration of a historical milestone. 
It's about imagining a different kind of future for the university and 
for society – a future where knowledge is not produced in isolation but 
through a multitude of voices, collaboration and recognising the body as
 a sensory, thinking and inclusionary part of knowledge production.


In tandem with the exhibition, the public is invited to participate 
in the conversation through a series of artist talks, performances and 
interdisciplinary conversations in the library.


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		<title>When the cactus still bloomed</title>
				
		<link>https://marianorholmramouk.com/When-the-cactus-still-bloomed</link>

		<pubDate>Fri, 10 Apr 2026 06:48:33 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/When-the-cactus-still-bloomed</guid>

		<description>ABOUT
	WORKS
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	PRESS
	︎︎︎︎
	When the cactus still bloomedInstalled at a public billboard installed at København Syd station and in Mads Nørgaard Copenhagen, Denmark, 2025Part of the group exhibition Homage to older women
Curated by Hanne Lise ThomsenMaterials: Photoprint og textDimensions: 120 x 240 cmDocumentation by Jan Danebod, Maria Nørholm RamoukSupported by: The New Carlsberg Foundation, the Danish Arts Foundation, Beckett 
Foundation, the Politiken Foundation, Ernst Sune Fonden and Poul 
Johansen Fonden
Full participation list is to be found here.
DK
Du viste mig din fødeby mellem bjergene og fortalte, at vores familiehus stadigvæk stod. 
At kaktussen i forhaven, som hver sommer gav frugt, stadigvæk blomstrede. 
Vi
 satte os ved vandkanten, åbnede vores madpakker og spiste med fingrene.
 ”Solen er det vigtigste element, elli. Det eneste sted jeg har lyst til
 at bo, er ved havet. Vi smelter sammen”, sagde du.

 Pressemeddelelse:Vores samfund er fuld af kulturelle narrativer og forventninger til, hvad den ældre kvinde er, kan og skal. HOMMAGE TO OLDER WOMEN har derfor inviteret 100 kvindelige og minoriserede billedkunstnere fra Skandinavien til at udtrykke deres personlige tanker om den ældre kvinde og denne livsfase. Individuelle værker, der alle vil blive vist på railborads i det offentlige rum i København og omegn, og som samlet vil give et mere nuanceret syn på den ældre kvinde.


ENG
You showed me your birthplace between the mountains and told me that our family house still stood.
That the cactus in the garden, which bore fruit last summer, still bloomed.
We
 sat by the waterfront, opened our packed lunch and ate with our 
fingers. “The Sun is the most important element, elli. The only place I 
want to live is by the Sea. We become one,” you said.Press release:Society is full of cultural narratives and expectations of what older 
women are, can do and should be. To counter this HOMAGE TO OLDER WOMEN 
invited 100 women and minority artists from Scandinavia to express their personal 
view of older women and this phase of their lives. The individual works 
of art on railboards in stations in and around Copenhagen presented 100 
visual statements that brought a broader and more nuanced image of older
 women into public space. The project paid tribute to the wrinkles, 
wisdom and life experience of older women to generate recognition and 
present alternative visions.
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		<title>If you have much, give of your wealth: if you have little, give of your heart</title>
				
		<link>https://marianorholmramouk.com/If-you-have-much-give-of-your-wealth-if-you-have-little-give-of-your</link>

		<pubDate>Fri, 30 Aug 2024 07:20:21 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/If-you-have-much-give-of-your-wealth-if-you-have-little-give-of-your</guid>

		<description>ABOUT
	WORKS
	CV
	PRESS
	︎︎︎︎
If you have much, give of your wealth; if you have little, give of your heart


Installed at Kulturmødet Mors, Nykøbing Mors (DK), 2024 &#38;amp; 2025

Commisioned by Kunsthal Spritten

Materials: Discarded textiles, Reseda luteola, Madder root, Indigo, mattresses, pillows, carpet, re-sewn tent

Dimensions: Diameter: 7,2m, Height: 5m, M2: 35

Tent: Cirkus Panik Teltmageri

Documentation: Andreas Rosforth Johnsen, Lea Meiland, Per Bille

Supported by: Cirkus Panik Teltmageri, Statens Kunstfond, SparNord Fonden, Knud Højgaards Fond, Erik Birger Christensens Fond, Fabrikken for Kunst og Design, Gabriel, Egetæpper, Elis DK


ENG
The works consists of a plant dyed textile installation and a re-sewn tent. The color palette (red, green, yellow and blue) derives from the four colors in the Imazighen flag.


It investigate and reflects upon mobile architectures as facilitation for reflection, exchange and re-charging. Ramouk’s work and engagement in tent-structures derives from her Moroccan-Imazighen heritage.


Article about the work and Ramouk’s practice as such, is to be found here (by I DO ART Agency):
Et spørgsmål om generøsitet
Programs inside the work are to be found here:
Kulturmødet Mors 2024
Klimamødet Aalborg 2024
Kulturmødet Mors 2025
Kulturmødet Mors 2026 (TBA)


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</description>
		
	</item>
		
		
	<item>
		<title>N9drou ngharsou chejra (We could plant a Tree) (GRASP Festival 2023)</title>
				
		<link>https://marianorholmramouk.com/N9drou-ngharsou-chejra-We-could-plant-a-Tree-GRASP-Festival-2023</link>

		<pubDate>Tue, 07 Nov 2023 08:56:03 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/N9drou-ngharsou-chejra-We-could-plant-a-Tree-GRASP-Festival-2023</guid>

		<description>
	&#38;lt;- Home&#38;nbsp; &#38;nbsp; &#38;lt;- Works
N9drou ngharsou chejra (We could plant a Tree)

InstallationExhibited: GRASP Festival, Roskilde (DK), 2023

Materials: Textile, madder root, indigo, gall apples, rain waterCurated by Rosa Danielsen
Dimensions: Diameter 13m, height: 2,5m 
Documentation: Flemming Bo Jensen, Kim Matthaï Leland &#38;amp; Maria Nørholm RamoukSupported by/Collaborators: Roskilde Festival, I Tråd Med Verden, ArtHub Copenhagen, Roskilde Festival, GRASP Festival, Statens Kunstfond, Den Hielmstierne-Rosencroneske Stiftelse, Elis DK, Upcy


For press material and video presentation of the work please visit the Press section
DKMed personlige, historiske og kulturelle symboler inviterer Maria Nørholm Ramouk os med denne installation ind i et omsorgsfuldt tekstillandskab, der giver plads til en afslappet og mild overvejelse af, hvordan sociale og kulturelle forhold påvirker fællesskaber og deres kollektive identiteter. Den teltlignende struktur er udformet i plantefarvede tekstiler med traditionelle symboler for at skabe et sted med stille fordybelse og fælles bløde energier.
 

ENG
With personal, historical and cultural symbols, Maria
Nørholm Ramouk invites us into an installation of a caring textile
landscape that provides space for a relaxed and gentle consideration of how
social and cultural conditions affect communities and their collective
identities. The tent-like structure is crafted in plant-dyed textiles with
traditional symbols to create a place of quiet contemplation and shared soft
energies.


	&#60;img width="7728" height="5152" width_o="7728" height_o="5152" data-src="https://freight.cargo.site/t/original/i/cbc9c62a0023f318142833a433f32541cdeca171f8bc6d23e96b8c1eb72c4728/GRASP2023-Torsdag-FlemmingBoJensen-151.jpg" data-mid="196104978" border="0"  src="https://freight.cargo.site/w/1000/i/cbc9c62a0023f318142833a433f32541cdeca171f8bc6d23e96b8c1eb72c4728/GRASP2023-Torsdag-FlemmingBoJensen-151.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>N9drou ngharsou chejra (We could plant a Tree) (Roskilde Festival 2023)</title>
				
		<link>https://marianorholmramouk.com/N9drou-ngharsou-chejra-We-could-plant-a-Tree-Roskilde-Festival-2023</link>

		<pubDate>Mon, 03 Jul 2023 14:33:06 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/N9drou-ngharsou-chejra-We-could-plant-a-Tree-Roskilde-Festival-2023</guid>

		<description>
	
	
 &#38;lt;- Home&#38;nbsp; &#38;nbsp; &#38;lt;- Works

N9drou ngharsou chejra (We could plant a Tree)
InstallationTextile, madder root, indigo, gall apples, rain water


Installed at Roskilde Festival, Roskilde (DK), 2023Presented in collaboration with ArtHub Copenhagen
Curated by: Rosa DanielsenSewn by: I Tråd Med Verden
Documentation: Jenny Sundby &#38;amp; Joakim ZügerSupported by: ArtHub Copenhagen, Roskilde Festival, Statens Kunstfond, Den Hielmstierne-Rosencroneske Stiftelse, Elis DK, Upcy

For press material and video presentation of the work please visit the Press section


DKMed personlige, historiske og kulturelle symboler inviterer Maria Nørholm Ramouk os ind i et tillidsfuldt og stofligt landskab, som giver plads til en stille og nænsom betragtning af, hvordan sociale og kulturelle forhold påvirker fællesskaber og deres kollektive identiteter. 

Maria Nørholm Ramouk skaber med værket N9drou ngharsou chejra (We could plant a Tree)&#38;nbsp;en sanselig og omfavnende tekstilinstallation, der står i skarp kontrast til Roskilde Festivals til tider høje tempo og rå energi. Den teltlignende struktur er udformet i plantefarvede tekstiler med traditionelle symboler for at skabe et sted med stille fordybelse og fælles bløde energier.

ENGWith personal, historical and cultural symbols, Maria Nørholm Ramouk invites us into a trustworthy textile landscape that gives room for a relaxed and gentle consideration of how social and cultural conditions affect communities and their collective identities.&#38;nbsp; 

With the work N9drou ngharsou chejra (We could plant a Tree), Maria Nørholm Ramouk creates a sensual and embracing textile installation that is in sharp contrast to Roskilde Festival's sometimes high tempo and raw energy. The tent-like structure is crafted in plant-dyed textiles with traditional symbols to create a place of quiet contemplation and shared soft energies. 


 العربية الفصحى

تسعى الفنانة لحمایة ضیوف مھرجان ھذا العام
من خلال الرموز الشخصیة والتاریخیة والثقافیة ، تدعونا ماریا نورھولم راموك إلى مشھد من النسیج و الذي یوفر مساحة للتأمل
.بشكل مریح عن تأثیر الظروف الاجتماعیة والثقافیة على المجتمعات وھویتھم الجماعیة
&#38;nbsp; من خلال العمل نقدرو نغرسو شجرة (یمكننا زرع شجرة)
Roskilde تبتكر ماریا نورھولم راموك ُمنشأة نسیجیة حسیة و التي تتناقض بشكل حاد مع الإیقاع 
 المرتفع أحیا ًنا لمھرجان 
والطاقة الخامصنع الهيكل الشبيه بالخيمة من منسوجات مصبوغة بالنباتات و برموز تقليدية بهدف خلق مكان للتأمل الهادئ و الطاقات الناعمة

المشتركة
ماریا نورھولم راموك فنانة بصریة مقیمة في كوبنھاغن وتعمل بشكل أساسي في الدنمارك والمغرب
تم عرض أعمالھا في الدنمارك وعلى الصعید الدولي&#38;nbsp;

	
&#38;nbsp;To Go 2023 كجزء من فترة الإقامة&#38;nbsp;Art Hub Copenhagen تم تقدیمھ بالتعاون مع 
I Tråd Med Verden تم حیاكة العمل من قبل مؤسسة اجتماعیة اقتصادیة 

					
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</description>
		
	</item>
		
		
	<item>
		<title>Everything between us continues from time to time</title>
				
		<link>https://marianorholmramouk.com/Everything-between-us-continues-from-time-to-time</link>

		<pubDate>Sun, 04 Dec 2022 20:31:49 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/Everything-between-us-continues-from-time-to-time</guid>

		<description>
	&#38;lt;- Home&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;lt;- Works


Everything between us continues from time to time

Installation, collective reading, workshop and research, collaboration with Karen Nhea Nielsen&#38;nbsp;Produced, performed
and installed at Rønnebæksholm, Næstved (DK), 2022

Invited collaborators: Kirsten Dufour, Kathrine Bolt,
Nika Pećarina, Marko Gutić Mižimakov, Mia Isabel Edelgart &#38;amp; Deirdre J Humphrys


Materials: Textiles, carpets, clay balls, sound, ready-mades,Documentation: Christian Brems
Supported by:&#38;nbsp;


Det Obelske
Familiefond, Statens Kunstfond, Trelleborg Fonden, Mærk Næstved &#38;amp; Næstved
Kommunes Kultur- og Fritidspulje.


At forsøge er en stor del af os


siger vi til os selv


som svar på skuffelsen


Vi skal gøre op med os selv, hvem vi
er, i det her vi


nogen løber andre går
nogen råber fra den anden ende af
rummet*


DK
Billedkunstnerne Karen
Nhea Nielsen og Maria Nørholm Ramouk har i deres residency Everything
between us continues from time to time udforsket, hvordan vi indgår og
arbejder i fællesskaber. Projektet er opbygget løbende i samarbejde med
inviterede samtalepartnere, som alle beskæftiger sig med det kollektive,
foranderlige og organisering som en del af deres respektive praksisser. Gennem
en legende og åben tilgang har de med tekstiler, lecakugler, bygningsdele fra
Astrid Noacks Atelier, lyd, latex, varmeposer og tekst omdannet 1. salen i
Herskabsstalden på Rønnebæksholm til et FællesRum. 
I løbet af residenciet har
støvet fra varmeposerne spredt sig i rummet når de er blevet syet, brugt,
placeret, stablet og omrokeret. De besøgende inviteres ligeledes til at
interagere med rummet og dets objekter, lytte til dets lyde, sig selv og alt
det imellem os. Titlen henviser til fællesskabet som en dynamisk
størrelse, hvor det allerede oplevede påvirker det, der skal opleves.


*Tekstuddrag fra Everything between us continues from time to time


ENG
During their residency Everything between us
continues from time to time artists Karen Nhea Nielsen and Maria Nørholm
Ramouk explore how we approach and engage in community. The project developed, adjusting
accordingly in collaboration with the invited interlocutors, each of whom engage
with collective strategies, changeability and organisation within their
respective praxis’s. Through a playful and open approach each new constellation
helped to transform the first floor of the stables at Rønnebæksholm into a
Common Room utilising elements from an archive of building materials from
Astrid Noacks Aterlier, installing text, textiles and sound as well as producing
large velvet insulation sacks filled with Leca clay pebbles acting both as sculptural
objects and interactive props. 
During the residency dust from these insulation sacks
spread through the room as they were sewn, stacked, positioned and repositioned.
Visitors were invited to interact with the space and its objects, listening to
these objects sounds, to themselves and everything in between. The residency title
refers to community as a dynamic dimension where what has already been
experienced affects what is to be experienced.


العربية الفصحى
أثناء إقامتھم ( كل شيء بیننا یستمر من وقت لآخر) ، تستكشف الفنانتان كارین نیھیا نیلسن وماریا نورھولم راموك كیف نتعامل مع
المجتمع وننخرط فیھ
تم تطویر المشروع وتعدیلھ و ذلك بالتعاون مع المحاورین المدعوین الذین یشتغلون على الإستراتیجیات الجماعیة وقابلیة التغییر
والتنظیم ضمن ممارساتھم الخاصة
Rønnebæksholm في خضم جو مرح و منفتح تم تحویل الطابق الأول من الإسطبلات في 

					
 Aterlier Noacks Astrid 
إلى غرفة مشتركة باستخدام عناصر من أرشیف مواد البناء من&#38;nbsp;
وتركیب النصوص والأنسجة والصوت بالإضافة إلى إنتاج أكیاس كبیرة مصنوعة من عازل مخملي و ملیئة بحجر لیكا الطیني
والتي تعمل على حد سواء كقطع نحتیة ودعائم
أثناء الإقامة ، انتشر غبار ھذه الأكیاس عبر الغرفة حینما تم خیاطتھا وتكدیسھا و إیجاد موضع مناسب لھا
تمت دعوة الزوار للتفاعل مع الفضاء وأشیائھ ، والإستماع إلى أصوات ھذه الأشیاء ، لأنفسھم ولكل شيء بینھما
یشیر عنوان الإقامة إلى المجتمع باعتباره ُبعداً دینامیكیا حیث ان ما تم تجربتھ في السابق یؤثر عن ما سیتم تجربتھ بالفعل

					
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	<item>
		<title>We could go to the Sea</title>
				
		<link>https://marianorholmramouk.com/We-could-go-to-the-Sea</link>

		<pubDate>Sun, 04 Dec 2022 20:31:49 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/We-could-go-to-the-Sea</guid>

		<description>
	&#38;lt;- Home&#38;nbsp; &#38;nbsp; &#38;lt;- Works

We could go to the Sea (Nmchiw lb7re)


Installation and performanceProduced and installed at Atrid Noack’s Studio, CPH (DK), 2022Materials: Textiles, spices brought from Morocco, text, banner, sea waterOriginal
duration (performance): 20:00 minPerformance excerpt: Vimeo
Performers: Simin Stine Ramezanali, Luna Scales, Mia Edelgart &#38;amp; Maria Nørholm
Ramouk
Dimensions: VariableDocumentation by Miriam H NielsenSupported by:&#38;nbsp;Statens Kunstfond, Rådet for Visuel Kunst, Nørrebro Lokaludvalg 

Drømmer om at ligge i sandet og se månens lys

Drømmer om at trække vejret helt ned i maven

Baba, kan du høre mig herfra?Jeg vil fortælle dig, at det er ok, at kaffen bliver kold

Du kan varme den op igen

					
Baba, blomstrer kaktusfrugterne?*

DK
I det poetiske og knopskydende performanceværk We could go to the Sea (Nmchiw lb7re)
tager Maria Nørholm Ramouk afsæt i følelsen af at længtes mod Afrika og undersøger,
hvad det vil sige at føle sig hjemme og at have et tilhørsforhold til flere steder i verden.
Nmchiw lb7re er den marokkanske oversættelse af We could go to the Sea skrevet med latinske bogstaver.
 We could go to the Sea (Nmchiw lb7re) er en del af en længerevarende kunstnerisk arbejdsramme, der gennem performance, tekst, lyd og installatoriske greb
har fokus på fællesskabsstrukturer, ensomhed og gentagelsen som tryghed.

 I Astrid Noacks
Atelier tager performanceværket, der tidligere har været vist på bl.a. Rønnebæksholm, en ny
drejning, idet det produceres on site og tilpasses både den gamle atelierbygning og det nye
baggårdsmiljø omkring ANA. I forsøget på at bringe sin marokkanske familie tættere på sig
har Ramouk indfarvet store tekstiler med brug af krydderier medbragt fra sin sidste rejse til
Marokko. Da havet er en central del af performanceværket har Ramouk benyttet havvand i
indfarvningsprocessen.


* Tekstuddrag fra We could go to the Sea (Nmchiw lb7re)

ENG


In the expanding poetic performance piece We could
go to the Sea (Nmchiw lb7re) Maria Nørholm Ramouk begins with a feeling of longing
for Africa, troubling what it means to feel at home while also having a sense
of belonging to several places in the world. Nmchiw lb7re is the
Moroccan translation of We could go to the Sea written with Latin characters.We could go to the Sea (Nmchiw lb7re) frames a lengthier body of work
and continued artistic practice that through performance, text, sound and
installation techniques focuses on collective strategies, loneliness along with
repetition as a strategy to build safety. 


For Astrid Noacks Atelier a new interpretation of previously
presented work at for example Rønnebæksholm, was produced on site and site
specifically for the old studio and backyard neighbourhood surrounding ANA. In
an attempt to bring her Moroccan family closer to her, Ramouk dyed large sections
of cloth with herbs and spices collected from visits to Morocco using seawater;
a central element in the work, during the colouring process.


 العربية الفصحى
في مقطع الأداء الشعري ، لنذھب إلى البحر( نمشیو لبحر) تبدأ ماریا نورھولم راموك عن إحساس الشوق لإفریقیا ، في حیرة عن
ما یعنیھ الشعور وكأنك في وطنك مع الشعور بالإنتماء إلى عدة أماكن في العالم. نمشیو لبحر ھي الترجمة المغربیة لـنذھب إلى
البحر
لنذھب إلى البحر (نمشیو لبحر) یدخل ضمن إطار عمل طویل الأمد وممارسة فنیة مستمرة و التي تتجلى من خلال الأداء والنص
والصوت و أسالیب التركیب و تتمركز أساسا على الإستراتیجیات الجماعیة و العزلة إلى جانب التكرار كاستراتیجیة لبناء الأمان

						
لقد تم إنشاء العمل سابقا في معرض Rønnebæksholm
و الآن سیتم عرضھ Astrid Noacks Aterlier
و الموقع ھو الاستودیو القدیم والفناء الخلفي للحي المحیط
في محاولة منھا لتقریب عائلتھا المغربیة منھا ، عملت راموك على صباغة أجزاء واسعة من القماش بالاعشاب والتوابل التي تم
جمعھا من زیاراتھا إلى المغرب باستخدام میاه البحر و الذي ُیعد العنصر الرئیسي أثناء عملیة التلوین

					
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	<item>
		<title>Through the photographs..</title>
				
		<link>https://marianorholmramouk.com/Through-the-photographs</link>

		<pubDate>Thu, 29 Dec 2022 13:44:32 +0000</pubDate>

		<dc:creator>Maria Nørholm Ramouk</dc:creator>

		<guid isPermaLink="true">https://marianorholmramouk.com/Through-the-photographs</guid>

		<description>
	&#38;lt;- Home&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;lt;- Works


Through the photographs I sense her impatience. She asks what I’m gonna use
them for and adds that it's important to remember nostalgia. I answer that it’s related to my
research for the Afgang project
Degree show at Kunsthal CharlottenborgInstallationText - screen prints on textile (5m x 1,4m, 1,4m x 0,5m, 1,4m x 0,5m, 1,4m x 2m), Ceramic coffee maker with old archival photo material from Copenhagen Women’s Coffee Wagon, Photographs in wooden frames (100cm x 80 cm, 90cm x 60cm, 60cm x 50cm) 


Documentation: David Stjernholm
DKMåder at være sammen på og de historier og ting, der
fastholder det samvær. Således kunne man beskrive Maria Nørholm Ramouks fokus.
Hun involverer og fordyber sig i sine omgivelser for at få nye indsigter i,
hvordan de er opbygget og hvilke potentialer de rummer. I dette værk gengives
utallige historier, nogle stammer fra hendes egen barndom, andre fra
undersøgelser af, hvordan historier fortælles.
 
Ramouk har set på sin
egen families historie samt den lokale urbane historie gennem historier om
kaffe, som en måde at skabe forbindelser til, og være sammen med andre på.
Dette har hun undersøgt gennem redskaber og genstande, der knytter sig til
kaffebrygning.&#38;nbsp; Nogle af disse
fortællinger er tryk på stof og ophængt i udstillingsrummet sammen med andre
materialer, alle er de løseligt forbundet, ligesom hverdagens mikronarrativer.
Vi finder historier om Ramouks besøg på Stadsarkivet for at gennemse
arkitektoniske tegninger fra 1950erne af de tidligere Københavnske Kvinders Kaffevogne,
tegnet på skrøbeligt mønsterpapir, der minder om et herbariums tørre
efterårsblade. Her findes også minder om de indtørrede brune ringe i 
Ramouks mors hvide kaffekop, der bevidnede mængden af koffein indtaget i løbet
af en dag. Dertil en kaffefilterholder i træ, som hun lavede i folkeskolen
efter at have skaleret lærerens originaldesign, som hun allerede som barn
vidste, ikke kunne understøtte kaffeforbruget i hendes hjem. Ramouk
inviterer også nye historier ind i værket ved at sætte keramiske kaffetragter,
lavet af kunstneren selv, i omløb til gengæld for historier om deres brug i
forskellige dagligdagssituationer. Ramouk interesserer sig for
erindringer. Hun leder ikke efter en sandhed, men efter de små
fiktionssandheder, der udgør vores erindringer. Herigennem afdækkes hvilke
ting, der synker ned og smelter sammen med os, og hvordan denne personlige
økonomi bliver kollektiv.

ENG
Ways of
being together, and the stories and objects holding that togetherness in place.
This could be a way of describing Maria Nørholm Ramouk’s artistic practice as
she involves and immerses herself in her own surroundings to gain new insights
about their constitution and potentials. In the present work, she has brought
forward several stories, some personal from her own childhood, and others about
inhabiting the spaces and looking through the modes in which other people’s
histories are presented.


Ramouk has dug
into her own family and local urban history through stories of coffee and the
elements and objects related to its making, as a way of connecting and being
with others. Some of
these stories are printed onto fabric and hung in the exhibition space
alongside other related materials, interconnecting in the same loose manner as
the disparate elements that make up the micro-narratives of our everyday life. We
find tales recalling her visit to a city archive to look through architectural drawings
from the 1950s of the early Copenhagen Women’s Coffee Wagon, made on delicate
tracing paper that recall the dry leaves of an herbarium. Also, her
reminiscence of the dried traces of brown lines in her mother’s white cup that
revealed the amount of caffeine ingested in the span of a day, or of a wooden
coffee filter holder she made in primary school, re-engineering her teacher’s
original design that she – even as a little kid – knew could not satisfy the
coffee demands of her own household. &#38;nbsp;Stories
are also invited; ceramic coffeemakers made by the artist are put into
circulation in exchange for the tales told around theirs use in different
everyday spaces. Ramouk is interested in what memories hold, what
selected fragments are told and to whom. She is not digging for the truth, but
for the small fiction-truths that make up our recollections, how and what is
sinking, pressed, and melted into us, and how that personal economy becomes
collective.
 
العربية الفصحى
من خلال الصور شعرت بنفاذ صبرھا ، تساءلت عن سبب استخدامي لھم و أضافت أن لا بد من تذكر حنین الماضي ، أجبت أن
الأمر یتعلق ببحثي لمشروع التخرج

					
طرق تواجدنا معا والقصص والأشیاء التي تحافظ على ھذه الوحدة
قد یكون ھذا النھج وسیلة لوصف الممارسة الفنیة لماریا نورھولم راموك و ھي تشارك وتغمر بداخل محیطھا لكسب رؤى جدیدة
حول تكوینھ و قدراتھ
في عملھا الحالي ، قدمت العدید من القصص ، بعضھا شخصي مستوحاة من طفولتھا والبعض الآخر عن السكن في أماكن أخرى
والغوص في 
أنماط عیش الإنسان و تاریخھ
انغمست راموك في تاریخ عائلتھا و التاریخ المحلي من خلال قصص القھوة و العناصر المتعلقة بصناعتھا، كوسیلة للتواصل و
التواجد مع الآخرین
بعض ھذه القصص تمت طباعتھا على القماش وتعلیقھا في المعرض إلى جانب مواد أخرى ذات صلة ، مترابطة مثل العناصر
المتباینة التي تشكل روایات مصغرة عن حیاتنا الیومیة

					
نجد حكایات تذكر زیارتھا لأرشیف المدینة للبحث في الرسومات المعماریة من خمسینیات القرن الماضي لعربة القھوة النسائیة في
كوبنھاغن ، المصنوعة من الورق الشفاف التي تذكر بأوراق الأعشاب المجففة
و كذا ذكریاتھا عن الخطوط البنیة لآثار القھوة في كوب أمھا الأبیض و الذي یكشف عن كمیة القھوة المستھلكة خلال الیوم الواحد ،
أو عن حامل مصفاة القھوة الخشبي الذي صنعتھ في الإبتدائي ، رغم صغرھا كانت تعلم أن إعادة ھندسة التصمیم الأصلي ل ُمدرسھا
لم یكن ل ُیلبي حاجیات أسرتھا

					
القصص مدعوة أیضا ، یتم تداول أقماع تقطیر القھوة المصنوعة من السیرامیك و التي صنعتھا الفنانة مقابل الحكایات التي ُتروى
حول استخدامھا في أماكن مختلفة من الحیاة الیومیة
تھتم راموك بما تحملھ الذكریات ، وما الأجزاء المختارة التي قیلت و لمن
إنھا لا تبحث عن الحقیقة ، بل عن الحقائق الخیالیة الصغیرة التي تشكل ذكریاتنا ، و كیف تنصھر و تنغمس بداخلنا و كیف أن
الإقتصاد الشخصي یصبح جماعیا

					
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