2018-2010: IMAGES, DESCRIPTIVE TEXT AND SCORES (a selection)

Peter Baren (The Netherlands) is an artist who has been working internationally since the mid 80’s. His works have a collaborative streak and often revolve around the notion of ritual and the way it functions in various socio-cultural contexts. It is conveyed in his art through the concept of ‘otherness’ and involvement of ancient cultures.
The recent performance series called BLIND DATES WITH THE HISTORY OF MANKIND, as a multi-sensory work, searches for a common ground between sensual bewilderment and political commentary, challenging the constructed nature of our ideas on progress and memory, derived from our social and cultural circumstances.

Recent invitations arrived for 2018 and 2019 from Great Britain, Slovakia, China, Germany, Mexico, US, Chile

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THE PACK OF TING

(Blind Dates With The History Of Mankind / ONLY FOOLS DIE)

89>97>01>13>20>25>             [work in process – UNDER CONSTRUCTION]

Ongoing performance project featuring chosen objects interwoven with both short and durational actions

2014-2017-THE-PACK-OF-TING-1
Above: few selected drafts and studies

Forthcoming:

5. UTOPIA. International Performance Meeting. Mexico City, Mexico  [2019]                                   PERFORMANCEAR O MORIR. Norogachi and Chihuahua, Mexico [2019]                             CONNECTION> EUROPA 3. PERFOLINK. Santiago, Chile
BLAUVERSCHIEBUNG NO11. Museum der bildenden Künste, Leipzig, Germany
6th UP-ON International Live Art Festival. Chengdu, China

NEXT:

7-10 September                                                                                                                                               

TAC 30. Transart Communication festival.                                                                                          Nové Zámky, Slovakia                                                                                                                                      kassak.me

9-22 July                                                                                                                                              

TEMPTING FAILURE. Biennial of International Performance Art and Noise.
Different locations around Croydon, London, UK
https://www.temptingfailure.com/events

Date: 21 July                                                                                                                               Location: Braithwaite Hall.                                                                                                        Performed by: Peter BAREN, Anna BOGOS, Lisa BOUCON, Gemma JONES, Rob HESP      After images [expected soon]: Julia WINTER

Realised performances and other presentations:

THEPARALLELSHOWRotterdam, NL 2018

Book presentation and spoken-word performance
Date: 22 april
Performance: Frans van Lent, Ieke Trinks, Ieke Kastelein, Peter Baren
Location: Kunsthal – auditorium
Images: Theun Okkerse

TheParallelShow is a series of impromptu performances of occasional collaborations of performance practioners
TheParallelShow takes place unexpectedly at and around public exhibitions at art venues
TheParallelShow is never announced, no invitations are sent
TheParallelShow leaves no traces

Project and book are initiated and compiled by Frans van Lentwithin the framework of Unnoticed Art TheParallelShow.com

PB contribution:
Different speakers calling out

ARE WE BLIND PEOPLE?!

KEEP YOUR VACUUMS CLEAN!

PEOPLE HAVE THE POWER! PEOPLE HAVE THE POWER!

PEACE WILL COME TO ME!

BLAUVERSCHIEBUNG NO10
Leipzig, Germany 2017

10 jahren internationales performance kunst festival Leipzig
Galerie KUB / Museum der bildenden Künste
HOFFNUNG EXIL UND TOT.
Date: 2 December
Performance: Christopher Utpadel, Peter Baren
Location: Galerie KUB
Images: Christian Liefke

 

Last stations: PB stands upright in floor texted capital [HOFFNUN] G.
Slowly steps up to PROGRESS PROGRESS and kisses him on the mouth.
The dark figure buckles out of skis and leaves the space. PB descends
again and produces the sound of a choking throat.
People present are requested to leave…

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ON FRIENDSHIP [Collateral Damage] II – Guardians of the Door.
Amsterdam, The Netherlands 2017

Participation with several performances in a project by Joseph Semah. Stedelijk Museum (October) and The New Church [June – during the exhibition Journey In Time/500 years Maarten Luther]. Other partners: Jewish Historical Museum,  Goethe Institute. Photography: Ilya Rabinovich, Linda Bouws.
During this long-term project On Friendship / (Collateral Damage) in which Joseph Semah collaborates with Metropool
International Art Projects / Studio Meritis MaKOM, the main question is how western art and culture are presented and
why. In Part I (2015) Semah searches for the specific Jewish implications in Kazimir Malevich’s (The Black Square) and
Barnett Newman’s work, and also critically researches the claim by a growing group of people that refer to the Jewish-Christian origin of European culture. Through his lawyer Bob Vink, Semah made contact with Beatrix Ruf, director of the Stedelijk Museum Amsterdam and asked her to account for the ‘empty page’ in art history on behalf of the art world.  Her answer was publicly called out [by PB] during the Stedelijk Museum performances.
Amsterdam, Stedelijk Museum, 20, 21 and 22 October
Images: Ilya Rabinovich, Linda Bouws

PB reading open letter to Beatrix Ruf, director Stedelijk Museum, by lawyer Bob Vink
and her reply. Other reflections read aloud on Malevich, Newman, Duchamp and Mondriaan


PB repainting Niele Toroni’s Pentagrammaton and covering it with Black Square by Malevich

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ON FRIENDSHIP [Collateral Damage] II –
Guardians of the Door.
Amsterdam, Damsquare 22 June . Around The New Church.

video LINK: https://www.youtube.com/watch?v=h8QttiW9zEE

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13 July. Performance in The New Church, Amsterdam

video LINK: https://www.youtube.com/watch?v=h8QttiW9zEE                                                                 10.16 mins

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SAME DIFFERENCE: EQUINOX TO EQUINOX [the film]
Belfast, Northern-Ireland 2016

[Film screenings during 2017:] Belfast International Festival of Performance Art.
Belfast School of Art, Ulster University, Belfast, N-Ireland / Blue Evening. Galerie Koppelmann – Kunstwerk Nippes, Cologne, Germany / Mobilize: Performance Art from Ireland. Cyberarts Gallery, Boston and Human Resources LA, Los Angeles, US

Part of this film are excerpts of the performance DISCOVER HEAVEN NOW, produced on 22 september 2016 by Rose Akras and myself.
On the occassion of a shifting worldwide moment of Equinox that day. Please visit VIDEO section!

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BLIND DATES WITH THE HISTORY OF MANKIND (RAGE TIME)
Amsterdam, NL 2017

FLAM #7 Forum of Live Art. A Week of Performance Art.
Arti et Amicitia and Theater Frascati
Date: 1 June
Performance: Aurelien Lepetit, Peter Baren, Levi de Kleer, Franziska Menge, Fazle Shairmahomed
Duration: 40 minutes
Photography: David Cenzer, Renata Daguerre

Video LINK:        https://www.youtube.com/watch?v=VM_rWBLJPEI      15.11 mins
The performance presented at FLAM, is part of the recent series called BLIND DATES WITH THE HISTORY OF
MANKIND. This multi-sensory work searches for a common ground between sensual bewilderment and political
commentary, challenging the constructed nature of our ideas on progress and memory, derived from our social,
cultural and political circumstances.
Made possible also with the financial support of Fonds Kwadraat

Amsterdam score

BLACK.SHIVERING.SILHOUETTE.ENTERS.FOGGED.SPACE.DIRECTLY.FROM.THE.OUTSIDE.
BUCKLING.SKIS.AND.ONLY.MOVES.ON.THE.SPOT.
ALL.AROUND.FLOOR.TEXTS.OF.HOPE.ESPERANZA.AND.HOFFNUNG.
RUNNING.FIGURES.ENDURE.AND.BOUNCE.SIDEWAYS.OVER.AND.OVER.AGAIN.
ARE.WE.BLIND.PEOPLE?ORPHANED.WHISPERINGS.AND.GESTURES.BY.FIGURE.READING.ABOUT.RAGE.AND.TIME.
PEOPLE.HAVE.THE.POWER!PEOPLE.HAVE.THE.POWER!!
FIGURES.ARE.LEAD.OUT.OF.THE.SPACE.
EACH.OF.THE.RUNNING.FIGURES.IS.KISSED.ON.THE.MOUTH.AND.LEAD.OUT.
KEEP.YOUR.VACUUMS.CLEAN!
ALL.WORDS.ARE.WIPED.OFF.THE.FLOOR.
THERE.IS.A.GARDEN.AT.THE.BOTTOM!
BLACK.SHIVERING.SILHOUETTE.UNBUCKLES.SKIS.AND.LEAVES.THE.BUILDING.
AFTER.FOG.VANISHED.THE.SPACE.SHOWS.ITSELF.AGAIN.

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WE THE BLIND PEOPLE? PEACE WILL COME TO ME!
Rotterdam, NL 2017

ART ROTTERDAM. INTERSECTIONS
Date: 8-12 February
Performance: Peter Baren
Location: Van Nellefabriek
Duration: between 1 and 2 hours – different actions
Photography: Geert Broertjes (GB), Mariana Lanari (ML) and Olivia Reschofsky (OR)
Produced by FLAM/Forum of Live Art amsterdaM

score #1:
WE THE BLIND PEOPLE? PEACE WILL COME TO ME!
Durational walks with textboard and censor bar – around the artfair

GB

GB

ML

MLscore#2: PEACE WILL COME TO ME! I AM GOING TO LIGHT UP THE WORLD:                                  Floortext with blow-up letters torn from dutch constitution papers – around FLAM booth
Below:




OR

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LET IT KEEP SECRETSAmsterdam, The Netherlands 2016

Project around the early work of Michael Gibbs [1949-2009]
Institutions involved: Stedelijk Museum, de Appel arts centre, Soledad Senlle Art Foundation, Rietveld Academie,
Boekie Woekie, Michael Gibbs studio, WG Kunst

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BLIND DATE WITH MICHAEL GIBBS (SECRET IT IS)Date: 18 December
Performance/concept: Peter Baren with Eva Gonggrijp
Location: Soledad Senlle Art Foundation
Duration: 20 minutes
Photography: Gert Jan van Rooij and Frank Gribling (FG)
Camera: Eva van Heijningen
Editing: Eva Gonggrijp

SCORE:
The performance lingers amongst the exhibited work from the estate of Michael Gibbs.
At first two pieces are taken down from the wall. A carrousel slide projector    is set in motion on the empty spot. I step into the projected light and it shows ALL on my back [the next slide shows WITHOUT when stepping out of the light]. Walking towards the exhibited box with cut out book. Every time when standing opposite a chosen work, I open the book, hold it up in front of me and close my eyes for a short period of time. The excerpt that follows is voiced by Michael Gibbs.

The whole of the trajectory also includes a communion dress, used by Gibbs as part of an installation, and brought in especially for this performance.     After several stops I stand in front of Cancelled Letters, the book is opened, again close my eyes, pull out a white handkerchief from chestpocket and stretch my right arm, hold the handkerchief for a short period of time and let it fall on the floor. Right after this action the book is returned into the box.

The ending of the performance takes shape when I slowly walk backwards next to the long showcase. One by one 3 boomerangs are picked up from the glasspanel and pressed against my forehead. They read: EXTINCTION, MIND and on top OPEN. Walking backwards and stop close to the fallen handkerchief, I kneel and the boomerangs are laid down around it. Last position is carried out from behind the communion dress, lift it and stand motionless inside.                                                               Michael Gibbs voices SECRET IT IS


ALL THE ABSENT WORDS

FG

FG

FG

[VOICE of Michael Gibbs:] SECRET IT IS

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DISCOVER HEAVEN NOW
Amsterdam, The Netherlands (and connected worldwide) 2016

SAME DIFFERENCE: Equinox to Equinox.
Day of Public Actions for Freedom and Democracy
(A moment of equal night and day, world wide)
Organisational body: BBEYOND, Belfast
Date: 22 September
Performance: Peter Baren with Rose Akras
Location: Observation deck, A’DAM Tower, Amsterdam
Duration: 50 minutes
Camera/Edit: Peter Franken/Weitblick Films

Video: 1.34 mins

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BLIND DATES WITH HISTORY OF MANKIND
(TOUT DOIT DISPARAITRE!
EVERYTHING MUST GO!) Marseille, France 2016

Preavis de Desordre Urbain  #10. On borders and migrations.
Date: 6-17 September
Performance: Peter Baren
Locations: [Friche la Belle de Mai], Kiosque Canebiere, Kiosk Old Harbour, Kiosk Esplanade J4
Duration: variable, from 1 – 1.5 hrs
Photography: Elea Terodde, Antoine Chipriana, Camille Perrin

SCORE: A temporary kiosk on different locations, covered with black foil and security posted.  Circular walking inside with text board (TOUT DOIT DISPARAITRE!/EVERYTHING MUST GO!) and shouting at the top of lungs – in french-: ARE WE THE BLIND PEOPLE?! Cutting holes in black fencing- holding up slips of papers reading DISCOVER HEAVEN in different languages- tear them up after showing around- cover face in book (RAGE AND TIME) followed by deep sigh- pulling a long string of white handkerchiefs from chest pocket. Last circular walk with textboard inside the kiosk and shouting at top of lungs -in french-: ARE WE THE BLIND PEOPLE?

2016-marseille-tout-doit-disparaitre-esplanade-j4-42016-marseille-tout-doit-disparaitre-canebiere2016-marseille-discover-heaven-image-camille-perrin2016-marseille-rage-and-time2016-marseille-tout-doit-disparaitre-2-jpg-image-camille-perrin
Later that evening…

2016-marseille-tout-doit-disparaitre-esplanade-j4-2

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STATIONS OF NAMELESS ENERGY (1987)
Amsterdam 2016

Monologue audio recording of  1987 performance with Ieke Trinks at Rijksacademie archive. Amsterdam (July 2016)

Performance Monologues is an ongoing collection of audio recordings and live recitations that started in 2016 by Ieke Trinks. She visits artists and asks them to describe one of their performances from memory while she records them. The recordings help her to recite the monologues from memory before a live audience. This is often done during an art event, but also in more intimate situations with one or more listeners. She recites the monologues in the first person because they are in the first person when delivered to her.

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BLIND DATES WITH HISTORY OF MANKIND (RAGE AND TIME)
Performance Suite Sao Paulo
Sao Paulo, Brasil 2016

VERBO 2016. 12. Mostra de performance arte.
Date: 28 July
Performance: Tatiana Abitante, Peter Baren, Andres Perez Barrera, Natalia Del Fiol and Carlos Monroy
Location: Galeria Vermelho
Photography: Edouard Fraipont

Text below is part of a blog published by Jennie Klein for RAPID PULSE#5. Performance festival, Chicago, June 2016.

Peter Baren’s performance from his newest series Blind Dates With The History Of Mankind (Rage and Time) addressed politics as well, albeit in a less literal, more metaphorical manner. The performance, which takes its name from Barens’ book of the same title, references a history of revolutionary ideas and actions. Originally trained as a painter and visual artist, and also with a background in theatre productions, Baren created a Gesamtkunsteffect, or total artwork that involves all of the senses in a transdisciplinary spectacle of movement, language, text, and texture. Baren’s Blind Dates With The History Of Mankind addressed political language. In this case, it was the Socialist/Marxist language of the avant-garde. Blind Dates grew out of the Ark series. These performances, which harked back to the spectacles of the Vienna Actionists/Hermann Nitsch, included fog, saran wrapped performers, dervishes/dancers, blindfolded performers (including Baren), molasses, and mopping the floor. Blind Dates With The History Of Mankind  drew specifically upon several of Baren’s earlier works, including Ark: Featuring Blind Dates, Orphaned Whisperings And Other Unknown Pleasures from 2007-12 and Blind Dates With the History of Mankind (Venice, Italy 2013–the first performance in the BDWTHOM series). The former included a man, eyes covered with a censor bar reading while riffling Peter Sloterdijk’s  Zorn und Zeit (Rage and Time), in which Sloterdijk characterized rage as a psycho political force throughout history, while the latter distilled the earlier pieces into a molasses stained white shirt which Baren carried along with a texted wirra (Australian boomerang) for four days.

BDWTHOM (Rage and Time) began with Baren’s trademark fog. Entering the space, Baren,  his eyes covered with a black censor bar, wrote the word Hope on the floor, in several languages, making a kind of spoked wheel-like diagram. “KEEP YOUR VACUUMS CLEAN!” (1) was heard during the process.
Periodically Baren would lead other performers into the space, at first two saran-wrapped and molasses drenched runners (PROGRESS PROGRESS), who move sideways alongside the asclepius (infinity sign) untill clashing into eachother, untill the next clash, again and again.

Next a figure, also with censor bar, in a suit who moved from spoke to spoke and read riffled fragments from Rage and Time. Shuffling from one spot to the next one, after every repetitive action this figure would finish the fragment with bringing the book towards the face and a deep sigh was produced. A (string of) white handkerchief(s) was pulled out of the chestpocket, one by one. At the end of performance the string ended up on the floor. When one of the runners would be in front of the reader while speaking aloud, this figure would stay running on the spot until no more text was exclamated… and continued sideways again.

“NOS, O POVO CEGO?!” [translated: ARE WE THE BLIND PEOPLE?! (2)] was heard in between actions. Last a sock clad whirling dervish was lead in to rotate slower and faster on the spot.
The performance ended when the man in the suit had completed the circle of spokes. Baren led the running figures out of the space first, then the reader and as last figure the dervish.

Baren’s performance concluded with a meditation on labor, ideas and political action. The audience began to clap, but it turned out that the performance had not yet ended–Baren returned with a mop and bucket, exhorting again the audience to consider “PEOPLE HAVE THE POWER!”(3) while cleaning up the mess. Dripping molasses, sweat, politics, rage and frustration–all was mopped up at the end, cleaned up and sanitized. But can rage, politics and revolution be so easily washed away with the sweep of a mop? The answer is NO. Baren emphasized his refusal to capitulate by singing aloud “THERE IS A GARDEN AT THE BOTTOM!” (4) when the mop and stained shirt were held up. As the audience huffled around, moving in and out of the space, unsure of whether or not the performance had ended and no doubt hoping to be included in the festivities that followed the final performance, Baren stood alone, continuing to insist that he will keep texting on!

(1) “KEEP YOUR VACUUMS CLEAN!” Songline by Nasmak
(2) “NOS, O POVO CEGO?!/ARE WE THE BLIND PEOPLE?!” Songline by Moyseis Margues
(3) “PEOPLE HAVE THE POWER!” Title of a song by Patti Smith
(4) “THERE IS A GARDEN AT THE BOTTOM!” Songline by The Associates
SCORE