LÖVAMAN
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 throughout sounds, hues, movements and scents. A devotional extra temoporary hedge school, or study circle coiling, a built-up and elaborated, pleated, foliated, kind of communal skin. A membrance.
.....................................................................
ACCELERATOR KONSTHALL
BONNIERS KONSTHALL
BOTNIC STUDIOS
CATS, BATS & WOLVES FESTIVAL
CRACK - FESTIVAL FORTE PERESTINO
FULLERSTA GÅRD
GIBCA (Gothenburg International Biennale of Contemporary Art)
GÖTEBORGS KONSTHALL
HANG MEN PROJECTS
HEINE ONSTAD KUNSTCENTER
PARKERNAS DAG SKÄRHOLMEN
RYMD KONSTHALL
SKANKALOSS/GAGNEF FESTIVAL
STUDIO GIARDINI
TAVERNA BRILLO
VENICE BIENNALE OF ART
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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 organisation and collecting of leaves, and the fine crafting of a green veil, by and for many and one. Leaves in the thousands carefully arranged shaping up, head to toe, a body, fur and armour. As phases of work proceed, then the dressing, the possession, the silencing of the voice. We sharpen up, listening negotiating the itineraries at hand and the processional walks in a silence offered the worlds. Weaponised with only whispering plumes of rhythmically cleansing instruments measuring, judging each and nobody, across the path of Lövaman. And as process comes to end, a final undressing, dispossession, and disperse of character inside out.
The Lövaman process addresses notions of material poetics, synaesthetics and the visionary faculty in its most metaphysical yet communal in its claim of commons, and as biopoetics, as dreamflesh. The project is conceived as a means to challenge understandings of the sonic, visual and olfactory through seasonal ritualistic and performative meditations on the borders of individual, environmental 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 masking, sacrifice and pilgrimage. A communal queering and informal stagening of the revolutionary unconscious.
Lövaman has grown out of equal amounts artistic research, and the lived experiences of mixed racial- and ethnic heritages, indigenousness and multiculturalisms in the face of a global rise in chavinistic conservativ nationalism and white nationalism. The lövamanproject has served as a hands on strategy for emancipation, care and empowerment, through a practise of ”becoming border” or ”bordering”. A way to possess and be possessed as “land connetedness”. This all in direct realtion and dialoguewith a broad scope of discourses concerned with coloniality and otherings, in relation to Europeaness. The project at large is a close case study of the veil (both in its scientific and cultural meaning), of the ethnographic concept of mask medicine, and its inherent, both ancient and contemporary conception of a vectorial play triangulating and immanently trancending notions of ”nature” and “culture” or “spirit” and “matter”. Lövaman is constant futurity yet archaic in its alchemical para-theater of a green lion, alien hunter, sub cultural trixter icon, hermit, or chrysalis always becoming other.
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 via Fori Romanum in Rome, to the Venice Biennale. A large scale four-piece Lövman project was performed as an extencive 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 project is an extention of a long term artistic research on transatlantic pre-lent carnival cultures ”Ship of Fools” (2001-2012), also presented as multi channel video installation at GIBCA, 2013.
GIBCA >>
..........................................................
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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 throughout sounds, hues, movements and scents. A devotional extra temoporary hedge school, or study circle coiling, a built-up and elaborated, pleated, foliated, kind of communal skin. A membrance.
.....................................................................
ACCELERATOR KONSTHALL
BONNIERS KONSTHALL
BOTNIC STUDIOS
CATS, BATS & WOLVES FESTIVAL
CRACK - FESTIVAL FORTE PERESTINO
FULLERSTA GÅRD
GIBCA (Gothenburg International Biennale of Contemporary Art)
GÖTEBORGS KONSTHALL
HANG MEN PROJECTS
HEINE ONSTAD KUNSTCENTER
PARKERNAS DAG SKÄRHOLMEN
RYMD KONSTHALL
SKANKALOSS/GAGNEF FESTIVAL
STUDIO GIARDINI
TAVERNA BRILLO
VENICE BIENNALE OF ART
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 organisation and collecting of leaves, and the fine crafting of a green veil, by and for many and one. Leaves in the thousands carefully arranged shaping up, head to toe, a body, fur and armour. As phases of work proceed, then the dressing, the possession, the silencing of the voice. We sharpen up, listening negotiating the itineraries at hand and the processional walks in a silence offered the worlds. Weaponised with only whispering plumes of rhythmically cleansing instruments measuring, judging each and nobody, across the path of Lövaman. And as process comes to end, a final undressing, dispossession, and disperse of character inside out.
The Lövaman process addresses notions of material poetics, synaesthetics and the visionary faculty in its most metaphysical yet communal in its claim of commons, and as biopoetics, as dreamflesh. The project is conceived as a means to challenge understandings of the sonic, visual and olfactory through seasonal ritualistic and performative meditations on the borders of individual, environmental 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 masking, sacrifice and pilgrimage. A communal queering and informal stagening of the revolutionary unconscious.
Lövaman has grown out of equal amounts artistic research, and the lived experiences of mixed racial- and ethnic heritages, indigenousness and multiculturalisms in the face of a global rise in chavinistic conservativ nationalism and white nationalism. The lövamanproject has served as a hands on strategy for emancipation, care and empowerment, through a practise of ”becoming border” or ”bordering”. A way to possess and be possessed as “land connetedness”. This all in direct realtion and dialoguewith a broad scope of discourses concerned with coloniality and otherings, in relation to Europeaness. The project at large is a close case study of the veil (both in its scientific and cultural meaning), of the ethnographic concept of mask medicine, and its inherent, both ancient and contemporary conception of a vectorial play triangulating and immanently trancending notions of ”nature” and “culture” or “spirit” and “matter”. Lövaman is constant futurity yet archaic in its alchemical para-theater of a green lion, alien hunter, sub cultural trixter icon, hermit, or chrysalis always becoming other.
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 via Fori Romanum in Rome, to the Venice Biennale. A large scale four-piece Lövman project was performed as an extencive 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 project is an extention of a long term artistic research on transatlantic pre-lent carnival cultures ”Ship of Fools” (2001-2012), also presented as multi channel video installation at GIBCA, 2013.
GIBCA >>
..........................................................
>returns
> artworkings, etc
> info
> index
> news
> cv
> contact