A performative ritualism, socio-sculptural objective, and psychogeograpgic procession, since 2007.

Lövaman possess a state of emergency, as they operate a mobile, and aural, latter day capitalism cleansing unit. An orgonic process and fabric of blood, will and chlorophyll in alchemical choreogrammar. An apocalyptic-folkloric industrial complex mapped into gestalt through sounds, hues, movements and scents. A devotional extra temoporary hedge school, or study circle coiling, build-up and elaborated, pleated, foliated, kind of communal skin. A membrance.


Lövaman is concieved of, and fully engineered as processes of myth-science where a carefully negotiated succession of moments are to be set up and performed with meditational focus, leaf by leaf, step by step. Moments consisting in the mapping of a psycho geographical landscape, biotope and habitat. Through successive gatherings of leaves and the crafting of a green veil for many and one,  leaves in the thousands carefully arranged  shaping up, head to toe, a body, fur and armour. As phases of the work proceed, then the dressing, the possession, the silencing of the voice, listening negotiations of the itinerary at hand, the processional walks in silence offered. Weaponised with whispering  plumes as rhythmically cleansing instruments judging each and nobody crossing the path of Lövaman. And as process comes to end, a final undressing, dispossession, and disperse of character.

The process addresses notions of  material poetics, synaesthetics and the visionary faculty in its most metaphysical yet communal in its claim of commons, as biopoetics and dreamflesh. 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 engagements. 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. A queering and unforming of the revolutionary unconscious.

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 special, religious, racial or ethnically otherings) 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 futurity yet archaic in its alchemical para-theater of a green lion, alien hunter, sub cultural icon, hermit, or chrysalis always becoming other realities.

Lövaman as project by Roberto N Peyre 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 choreogrammar 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)