Lövaman is a latter day capitalism-, mobile-, aural cleansing unit, and apocalyptic-folkloric complex mapped into gestalt. It is an anthropomorphic character expressed through sound, color, movement and scent. It is an elaborated pleated, foliated, kind of hide. A veil and dress. A hooded gown made up by thousands of fresh Aspen leaves, or Heath, carefully arranged into a compact fur shaping up, head to toe, a body. The veiled character is weaponised with leaf plumes or rattles used as rhythmic cleansing instruments healing tensed people crossing the path of Lövaman.

Lövaman is conceived of, and fully engineered as, processes of carnivalesque* myth-science* where a carefully negotiated succession of moments are to be set up and performed with meditational focus. These moments consist in the mapping of a psycho geographical landscape and habitat, the location of fresh Aspen trees/ Heath, the gathering of perfect leaves, the crafting of the fur, the dressing, the possession, the silencing of the voice, negotiations of the itinerary at hand, the processional walks in silence, the final undressing, disposession and disperse of the character.

The process addresses notions of  material poetics, synaesthetics and the visionary faculty in its most metaphysical. The project is conceived as a means to challenge understandings of the sonic, visual and olfactory through ritualistic and performative meditations on the borders of individual and collective engagement, on the inherent meanings on work and play, on the exoteric and the esoteric, on social and civil contracts, natures and cultures, through the means of communality, masking, sacrifice and pilgrimage.

Lövaman grew out of both artistic research and the lived experiences dealing with the ”becoming border” or ”bordering”.  This in realtion to notions very much at stake sthroughout various discourses of the colonial, post colonial and decolonial. Throughout tropes concerned with the oriental, the african (and further religious or ethnically other) in relation to Europeaness.  It is a close case study of the veil, masking, and its inherent, both ancient and contemporary conceptions of  a vectorial play between”nature” and “culture”. Lövaman is archaic yet futuristic in its alchemical para-theater of a green lion, alien hunter, self made sub cultural icon or hermit, always becoming other realities.

Lövaman has over the years been walking a number of festivals and events since the conception 2007. From Skanka Loss festival in Gagnef to Fori Romanum in Rome.

A four-piece Lövman project was performed as an excessive psychogeographical mapping, workshop, procession and club choreography throughout the city of Gothenburg as part of GIBCA (Gothenburg International Biennale for Contemporary Art) 2013, curated by Claire Tancons.

The Lövaman character and project came out of the excessive research of transatlantic pre-lent carnival cultures making up the art project ”Ship of Fools” (2001-2012)

*Simon O´Sullivan

For further references see: 
-Ilm al-Hududiyya: un-inheriting Eurocentricity, by Klas Grinell
-The Green Lion, El Khidr & Ptah on Wikipedia.
-Becoming-Intense, Becoming-Animal, Becoming-Imperceptible” (A Thousand Plataus), by  Deleuze & Guattari.
-Rabelais and his World, by Bakhtin
-Art Practice as Fictioning or Myth Science, by Simon O´Sullivan.