video

Forthcoming:
2018
video of the Stedelijk Museum performances [20,21,22 October 2017]
On Friendship / (Collateral Damage) II – The Guardians of the Door

———————————————————————————————————–

————————————————————————————————

On Friendship / (Collateral Damage) II – The Guardians of the Door.
Around The New Church, Dam Square, Amsterdam

2017 video: 10.16 mins. Color, sound. Camera / Edit: Igor Andreevski.
Participation in project by Joseph Sassoon Semah.
Image: Ilya Rabinovich

Maarten Luther and 500 years of Reformation are the central subject: with art, performances, artistic interventions, round-table conversations, lectures and a book publication. There will be critical reflection on the image of Luther as a ‘superstar’ and on his importance then and now. De Nieuwe Kerk, Jewish Historical Museum, Stedelijk Museum and Goethe Institute are all partners in this project.

The starting point was Joseph Sassoon Semah nailing his answer to Luther on the door of The New Church, preceeded by a ‘procession’ coming from Dam square. 22 June. Metropool International Projects 2017. With: Peter Baren, Anastasia Kozlova, Joseph Semah, Emile Schrijver

———————————————————————————-

On Friendship / (Collateral Damage) II – The Guardians of the Door.
The New Church, Dam Square. Participation in project by Joseph Sassoon Semah
2017 video: 11.26 mins. Color, sound. Camera / Edit: Igor Andreevski.
Image: Ilya Rabinovich

On the 13th of July 2017, Joseph Sassoon Semah pursued the case with a public intervention towards installation in De Nieuwe Kerk, Amsterdam. Among the sound of the sewing machines, the bicycle, the procession, the music of Johann Sebastian Bach, the mute Hare, the silence of the chess players, and the sacred dispute between Lutheran pastor Dr. Andreas H. Wöhle and Joseph Sassoon Semah, one could hear a reading through a megaphone, from the book “On the Jews and Their Lies”; a certain anti-semitic treatise written in 1543 by the German Reformation leader, Dr. Maarten Luther [Peter Baren performance]

—————————————————————————————————–

BLIND DATES WITH THE HISTORY OF MANKIND  [RAGE AND TIME]

2017. Video 15.11 mins. color, sound Camera/Edit: Peter Franken / Weitblick Films
With Peter Baren, Levi de Kleer, Aurelien Lepetit, Franziska Menge, Fazle Shairmahomed
Performance produced by: FLAM. Forum of Live Art amsterdaM.
Image: David Cenzer

DARK.SHIVERING.SILHOUETTE.ENTERS. FOGGED.SPACE.DIRECTLY.FROM.THE.OUTSIDE.
BUCKLES.SKIS.AND.ONLY.MOVES.ON.THE.SPOT.
ALL.AROUND.FLOOR.TEXTS.OF.HOPE.IN. WORLD.LANGUAGES.
RUNNING.FIGURES.ENDURE.AND.BOUNCE. SIDEWAYS.OVER.AND.OVER.AGAIN.
ORPHANED.WHISPERINGS.AND.GESTURES.BY. FIGURE.THAT.READS.ABOUT.RAGE.AND.TIME.
SHORT.STATEMENTS.ARE.HEARD.ARE.WE.BLIND. PEOPLE? KEEP.YOUR.VACUUMS. CLEAN! PEOPLE.HAVE.THE.POWER!PEOPLE.THE.POWER!!
FIRST.THE.READING.FIGURE.IS.LEAD.OUT.THEN.THE.RUNNING.ONES.
TOWARDS.THE.END.OF.THE.PERFORMANCE.ALL.WORDS.ARE.WIPED.OFF.THE.FLOOR.
THERE.IS.A.GARDEN.AT.THE.BOTTOM!
DARK.SHIVERING.SILHOUETTE.UNBUCKLES. SKIS.AND.LEAVES.THE.BUILDING.AGAIN.
AFTER.FOG.VANISHED.THE.SPACE.SHOWS.ITSELF.AGAIN.
———————————————————————————————————————————————-
BLIND DATE WITH MICHAEL GIBBS [SECRET IT IS]

Part of the project LET IT KEEP SECRETS [the early work of Michael Gibbs (1949-2009)] Amsterdam September – December 2016

2016. Video, color, sound:  15.25 mins.
Camera: Eva van Heijningen /Edit: Eva Gonggrijp
Performance: Peter Baren
Curator and Head of production: Eva Gonggrijp for Soledad Senlle Art Foundation.
Image: Gert Jan van Rooij

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 directed towards 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 fromthe 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

———————————————————————————————————————

DUTCH spoken / Nederlands gesproken:

18 May 2014 – Stedelijk Museum Amsterdam, Teijin auditorium – Booklaunch of publication BLIND DATES WITH THE HISTORY OF MANKIND. PERFORMANCES 1980-2013 by Peter Baren.
Introduction by  Marga van Mechelen / performance by Koos Dalstar /presentation of first copy and an INTERVIEW with Alex de Vries.
Duration: 1.13.31 mins

———————————————————————————————————–

ARK series. Compilation 2012-2007

2012. Video 15.56 mins. Color, sound
Edited by Claudia Cruiz, Peter Baren

Excerpts are included of the following performances:
Glasgow, United Kingdom. NATIONAL REVIEW OF LIVE ART. Tramway [2007]
Bangkok, Thailand. ASIATOPIA #10. Bangkok Art And Culture Centre [2008]
Amsterdam, The Netherlands. THE MANIFOLD (AFTER) LIVES OF PERFORMANCE. Theater Frascati.
A coproduction with de Appel arts centre, Amsterdam / STUK/PLAYGROUND festival, Leuven, Belgium [2009]
Piotrkow Trybunalski, Poland. INTERAKCJE XIV. International Art Festival. Galeria ODA [2012]

ARK [UNKNOWN PLEASURES] 2007.
Video: 4.21 mins. black&white, no sound

The footage was derived from ARK (ON HOPE AND OTHER TERMINAL BODIES SUCH AS BRIDGE OF SIGHS, SLEEP OF REASON AND WAILING WALL)

Series of performances during BLURRR 5. Fifth Biennial Of Performance Art
Location: CCA/Center of Contemporary Art and the city Tel Aviv
Performance: Yarden Bar, Peter Baren, Lenga Caspi, Tal Rosen
Date: 23, 24, 25, 26 November 2005
Photography and video: Ruti Sela
LIMA Collection, Amsterdam

Each day the performance starts in the CCA/Upper gallery and consequently the space is left to proceed in a procession to several sites in the city of Tel Aviv (except for Day 1). The gallery is foggy and bangs are heard at irregular intervals. People who enter are faced with a figure, its eyes blacked out (censor bar) holding up a jigsaw puzzle (showing two soldiers carrying a youngster away from a colonist settlement).
In the middle of the space (standing on a long floor text by Mao Tse-tung, from 1938) two figures may be descried: heads covered with scarves, their bodies covered with molasses and wrapped together with cling film, their arms outstretched, with mobiles hanging down from their fingers. People gather around the floor text. The first figure takes the jigsaw puzzle apart and puts the pieces down on the floor around the text.
Next, all around the surrounding walls the word HARAM (in reverse – meaning unclean, impure) is written, to declare everything that finds itself outside this space unclean, impure. Later on, one can read the word HOPE in some places and in many different languages. The first figure stops in front of every word (HOPE) and voices it in that particular language.
This action is followed by the first figure picking up the boomerangs one by one, then subsequently  SPIRIT, MEATJOY, SHOOT, EARTHLING, CROSSFIRE is written on each of them and then they are lined up from right to left behind the figures.
After this has been done, the last action consists of the first figure tearing apart his shirt, while facing the two clinched figures. Doors are opened to lead people out.
On the following days people who enter the CCA are then faced with a blow-up of the image used previously, which  is then torn up and scattered around the floor text (again and again). The line of words is (repeatedly) being licked before the single figure is taken out of the space into the city of Tel Aviv, to spots where assassinations took place and bombs went off in the past. Every walk ends with the figure tearing his shirt after facing the other figure, close to one of these spots and leading it back to the CCA. During the last trip (to the seaside) a boomerang is thrown towards the sea (with the word SPIRIT written on it) [PB]

———————————————————————————————————-

Panorama Faulhorn (Museum Of Mankind) 1983

—————————————————-

Panorama Faulhorn (Museum Of Mankind)
Peter Baren / Koos Dalstra, 1983
Video: 17.18 mins. color, sound
Camera and editing: Rabotnik TV [Menno Grootveld, Nicole Capaan]
LIMA Collection, Amsterdam

———————————————————————————————————

Panorama Faulhorn
  1983

Panorama Faulhorn
Peter Baren, 1983. Video: 6.45 mins. color, sound
Camera and editing: Rabotnik TV [Menno Grootveld, Nicole Capaan]
LIMA Collection, Amsterdam

Eastern Mantra
Peter Baren, 1981. Video: 10.26 mins. color, sound
Video recording: Dagan Cohen
LIMA Collection, Amsterdam

———————————————————————————————————

Western Mantra
1980

Western Mantra 1980
Peter Baren. Video: 21.45 mins. black&white, sound
Video recording: Willem II crew [Den Bosch]
LIMA Collection, Amsterdam