Peder Bjurman, artist, writer and director. In combining imagery and music with strong abstract or narrative texts, his performances often blend the tragical with the poetic or comic. He gives equal importance to light, sound, set and the actors’ performances, often utilizing cutting edge stage technology. His work is often devised and developed in close collaboration with the ensemble or with other artists, composers, designers and stage tech companies.

The installations, plays and performances have been shown internationally in New York, Montreal, London, Paris, New Zealand, Mexico, Taiwan etc. and around the Scandinavian countries, and tour continuesly.

He has an ongoing collaboration with the Canadian director Robert Lepage for whom he has worked as ideateur, writer and dramaturge over past twenty years, including the original idea for Far Side of the Moon, with music by Laurie Anderson.

Peder Bjurman also acts as artistic consultant and advisor for companies and festivals, as with Philip Glass’ latest opera Circus Days and Nights, and he has initatiated organisations like the European 360 network, the production platform SITE, the export office Loco Motion, and the art installation company FMR Productions.

His writing includes librettos for opera, radio theatre, performance art pieces, video installations and music theatre. The most recent work focuses on large scale participatory video installations and exihibitions, often with playful perceptionbased material around the senses and with the conscious mind as theme, such as The Cloud Machine and The Air Loom.

For more information about Peder, visit his website here.

For more information about FMR, visit the website here.


Tardigrades are microscopic survivors, capable of resisting extreme temperatures, from the absolute freezing point to extreme heat. They survive in space and can remain frozen for thirty years, resist vacuum and radiation through a chemical kind of suspended animation. Yet they are highly sensitive to climate change, when their environments are threatened due to a rise in temperatures in their natural habitats, wetlands and moss. They are resilient fighters in a microscopic format. Monumental, yet ephemeral creatures floating between life and death; as a symbol, as mystical beings, and as sculptural objects in their own.The Slow Walker project aims to place these beings as gigantic AR-objects in a lush city park, and make them visually present using geo-fencing, smartphones and/or AR glasses. The colossally enhanced creatures measure about 50×100 meters, and move extremely slowly through the parklands, grazing and interacting with the audience as they come closer. The digital artwork is accompanied by a soundtrack and a voice over, providing an extra dimension to the highly social sculpture.Partly inspired by Timothy Morton’s ideas about the “Hyperobject”, manmade phenomena that are too large to grasp, such as AI, climate change, global economy, Internet etc., this new way of experiencing the world provides ground for philosophy, science and art to merge. The piece dwells on a sense of otherworldliness, extraterrestrial and alien. Instead of a hyper object, it focuses on something minute but tangible, the Tardigrade*, to envision the passage of time, the vulnerability of life, through exploring the extreme slow tempo of the beasts at the intersection of life and death. They look at us, as if knowing.
Morton means that the sheer vastness of the Hyperobject could potentially humble our attitude, when realizing our own smallness. The awe, in front of these hybrid objects could provoke “a sort of delightful horror, a sort of tranquility tinged with terror” as Edmund Burke describes the experience of the Sublime. These two experiences are linked and interconnected, and the Slow Walker manifests both an inner and an outer motion as they mysteriously travel the city, appearing in new venues or larger numbers.These subversive digital objects turn the world inside out, while extracted from the real world, remodeled in the digital and then reappearing again in the real as artificial, friendly and sculptural, seemingly extraterrestrial creatures, reminding us of the great natural beauty and mysteries, by their very slow, trancelike movement. They encompass two worlds, the realm of life and death, changing the perspective and the way we look at life and the daily buzz of any city.The Slow Walker AR installation can eventually also be shown internationally, in connection to other festivals or exhibitions, only by moving the anchors – the geo-fencing points, and adapting the piece to its new environment.


2022 by Peder Bjurman (SE) and Mark Holthusen (US) Voice: Blixa Bargeld Music: David Coulter

THE AIR LOOM PROJECT explores the new technologies defining our future, as we are letting them trace, track and collect our identity. Transgressing into the personal realm of our inner thoughts, doubts and demons, the installation piece examines the relationship between perception and paranoia, the self and its mirror image, exhibition and voyeurism.

Inspired by a true story, The AIR LOOM is a largescale sound and video- installation consisting of a box screen, directional speakers and the voice of Blixa Bargeld, in the role of the Influence Machine itself. Video artist Mark Holthusen has designed the system of see-through screens, as a box maze for the audience to walk around or enter, and the hauntingly beautiful flow of imagery, that along with David Coulter’s eerie score creates a slightly hypnotic ambiance. Artist Peder Bjurman, who’s behind the concept, has written a text evolving around the self as illusion, the sense of selling your soul and the new abstract and fictional world deeply affecting our perception of reality.

“The only way out is in”, as the Influence Machine tells us.

Duration: 30 min. running as a loop over several hours.
Venue size: 18×12 m black box or dark gallery space. Height: min 3,50m Tech: 4 x 10K video projectors, and a 5.1 surround sound system + 12 small speakers.


Concept, text, direction: Peder Bjurman
Voice over: Blixa Bargeld
Visuals: Mark Holthusen
Music: David Coulter
Technical Director: Daniel Ohlsson/UKK
Sound design: Johan Adling
Welding: Anders Klingmark
With thanks to James Blackshaw, Thomas Bloch, Jean-Jacques Palix, Sebastian Rochford, Jake Rodriguez, contributing to the sound track.
Fabrics from Showtex/ Charlie Andersson.

Supported by the Swedish Art Grants committee, Kulturbryggan. Thanks to Stefan Karsberg, Riksteatern.