cv 2021-1979 and full content of the monography 1980 – 2013


*1954. Lives in Amsterdam, The Netherlands and works on performances and other presentations:

Peter Baren acknowledges the following bodies for their support sofar: Mondriaan Fund, Prins Bernhard Culture Fund, Amsterdam Fund for the Arts, VSB fonds, Hartenfonds, Fonds Kwadraat, The Netherland-America Foundation [NAF], Royal Netherlands Embassies and Consulates worldwide and those individuals who wish to remain anonymous.

The recent series BLIND DATES WITH THE HISTORY OF MANKIND [2013 – ongoing], as a multi-sensory work, searches for a common ground between sensual bewilderment and operational suffering, challenging the constructed nature of our ideas on progress, identity and memory, derived from our social, cultural circumstances and exceed territories.

PETER BAREN full monography 1980 – 2013 BDWTHOM essays, texts, images and scores

English version below, including survey of images.
At the bottom of this listing you can find a LONG both NL and English resume [2021 – 1979]

[selected] Performances and other presentations:


Due to the corona pandemic and the international lockdown several presentations are cancelled or postponed till further notice


la-bas. Experimental live art. Kiasma Museum, Helsinki, Finland
BLAUVERSCHIEBUNG. Museum der bildenden Künste, Leipzig, Germany
[initiated by and in co-operation with Galerie KUB]                                                                           
CONNECTION>EUROPE. Santiago, Chile / Curitiba, Brazil and other partners in Rio de Janeiro, Sao Paulo [produced by PERFOLINK]                                                                                                              4rd CROSSING BORDER_BORDER CROSSING intermedia festival. Mong Kok district, Hong Kong. The intermediafestival takes place on various sites and in different venues.[live performances by international artists will feature only in the next edition of autumn 2021, due to the pandemic]
THE SALAMIS PROJECT. Archeology and Environment. Salamina Island, Greece [including PB residency]



15th ANNIVERSARY & EXHIBITION 2006-2014: WILD/ALIVE! Home of the Avant-Garde. Grace Exhibition Space, New York US. May 21, 2022 – September 17,   2021.                          2nd NIEUWSTRAAT FESTIVAL. Dordrecht, NL                                                                                       The 2nd Nieuwstraat Festival took place on June 19, 2021, between sunrise and sunset.  Performances were carried out by volunteers, unannounced and without explanation.
Twelve Years: The Archives of Scene. UP-ON LIVE ART FESTIVAL. Video and several studies for  UP-ON Live Art Festival#7. Dates: 28 February 2021  – 22 November 2020


8th UP-ON International Live Art Festival. Chengdu, China
Due to the pandemic the international artists are presented with online performance videos. New dates: 16 – 25 November. My videos RAGE AND TIME (2017) and PROGRESS PROGRESS [STRANDED] 2019 are shown in the Wu Temple in Chengxiang’s Old Town.                                                                                                        Primera Trienal de Performance DEFORMES 2020. Santiago, Chile. Online performances / videos. 9-13 November. Visit:              BLIND DATES WITH THE HISTORY OF MANKIND [PROGRESS PROGRESS – STRANDED/ NO REQUIEM]  2019, online since 7 September 2020 on You Tube. Duration 3.32 mins                                                                                                                      Corona-archives Passage. Nieuw Dakota, Amsterdam The Netherlands. A digital print on paper was presented during the exhibition [part of a series of 3]. Location: Nieuw Dakota. Dates: 15 July – 30 August                                                                             PERFORMANCE: Peter Baren- Blind Dates With The History Of Mankind dream idea machine ART VIEW  featuring in greek online artmagazine with BDWTHOM performance series, Venice May 2013. Online since May 18, 2020           What Remains: On the Sacred, the Lost and the Forgotten Relics of Live Art.
ARC Gallery, Chicago, US.  7 – 28 February [produced by Defibrillator Gallery]. PB contribution is part of WEEK 2: MERGE. In this ever changing exhibition I will be using relics used by Marylin Arsem in her 2015 performance STILL WAITING during RAPID PULSE #4. My proposal STILL WAITING_NO REQUIEM includes make overs of work by Magdalena Abakanowicz, Gerrit van Bakel, Joseph Beuys, Kiki Smith, Martin Disler that will be drawn and texted onto both a burned table and chair and including four dry flowers, with a project that never saw the light of day.


LOCUS SOLUS [Artist Practice in Progress]. Amsterdam, NL
Exhibition: 16 November – 7 December. CONFRONTATION II. franck gribling reacts to the work of Joseph Sassoon in the framework of ON FRIENDSHIP [Collateral Damage] III. The Third GaLUT. The Guest becomes Host. Peter Baren contribution: ON HOPE AND OTHER TERMINAL BODIES. Series of 3 performance stills. 86 x 260 cms, C-prints on aluminium. Edition: 1/5. 2006                                                                                                                                           RED PLEXUS/ Préavis de dêsordre Urbain#13 Performance Festival.
La Friche Belle de Mai, Marseille, France. 13-15 September
PROJECT ID. In-Between Identities. Different locations, The Hague NL.                 Produced by P. S. Performance Site, VestAndPage and Marilyn Arsem
Residencies including a Live Program, Study Room [produced with LADA/Live Art
Development Agency, London] 1 – 7 July
Lecture SILHOUETTES LIKE SHIVERING ANCIENT FEELINGS [ORIGIN-CHANGE_IDENTITY] and a performance together with Imke Zeinstra: BLIND DATES WITH THE HISTORY OF MANKIND [NO REQUIEM]                                                    UPDATE. Group show. Arti et Amicitiae, Amsterdam, NL. A selection of handscripted scores and performance studies [from the period 2007 – 2019]. 29 June- July 28           Wie Sprechen Wir. How do we speak? A repertoire of language. GfZK. Galerie für Zeitgenössische Kunst, Leipzig. Participation in ‘I Enter A Room’ (Performance Monologues by ieke Trinks), exhibition curator: Sarie Nijboer. April/May


ART ACTION 1998 – 2018 is organized by LE LIEU, Quebec [Canada].
RiAP/ Rencontre Internationale d’Art Performance.
September-December: Exhibitions, conferences and publication ART ACTION 1998-2018. Continents presented are: Canada, Americas and Africa, Europe, Asia
and Oceania. Including different exhibitions of documentation and  artifacts.During EUROPE exhibition and event PB book with performances 1980 – 2013, plus photo material are on display/request. 11 November 2018. Ieke Trinks lectures on ACTION ART AND ARTISTS INITIATIVES IN THE NETHERLANDS. Images of a couple of PB performances are included in the lecture.
TAC#30. TransArt Communication festival. Nové Zámky, Slovakia. Different locations. PB venue: Csemadok [Hungarian Cultural Centre]
TAC 1988-2018. The exhibition. Ernest Zmetak Gallery, Nové Zámky, Slovakia
Fractured Bodies. TEMPTING FAILURE#18. Biennial of Performance Art and Noise – hosted in the Borough of Croydon, London, UK. [PB location: Braithwaite Hall]
TheParallelShow [#1-10] . Kunsthal, Rotterdam, NL. The Parallel Show, Spoken word performance and book presentation. With Frans van Lent, Peter Baren, Ienke Kastelein, Ieke Trinks. Project and book produced by Frans van Lent for
Publisher: Jap Sam Books


BLAUVERSCHIEBUNG NO10. Internationales performance kunst festival Leipzig. Galerie KUB and Museum der bildenden Künste, Leipig, Germany
The performance BLIND DATES WITH THE HISTORY OF MANKIND [HOFFNUNG, EXIL UND TOT] in Galerie KUB was carried out together with Christopher Utpadel
On Friendship [Collateral Damage]  II– Guardians of the door. Amsterdam, NL – participation with several performances in a project by Joseph Semah. Stedelijk Museum: 20, 21, 22 October (Curator: Margriet Schravemaker)/ The New Church: 22 June and 13 July. Other partners: Jewish Historical Museum, Goethe Institute
SAME DIFFERENCE: EQUINOX TO EQUINOX. Day of Public Actions for Freedom and Democracy. 22 September. [the film – produced by BBEYOND, Belfast] Screenings in 2017 during: Blue Evening. Galerie Koppelmann – Kunstwerk Nippes, Cologne, Germany / Mobilize: Performance Art from Ireland. Cyberarts Gallery, Boston and in Human Resources LA. Los Angeles, US
PLATFORMS PROJECT. Independent Art Fair. Athens, Greece [with THE SHOWS, presentation curated and produced by Frans van Lent for Unnoticed Art Festival]
LAM#7. Forum of Live Art. Arti et Amicitiae and theater Frascati, Amsterdam, NL (curated by Rose Akras/Forum of Live Art AmsterdamM)
Van Nelle factory, Rotterdam, NL (produced by FLAM/Forum of Live Art amsterdaM)


LET IT KEEP SECRETS. Project around the early work of Michael Gibbs (1949-2009). PB Performance Blind Date With Michael Gibbs [Secret It Is] in Soledad Senlle Art Foundation (produced with Eva Gonggrijp). Other institutions involved: Stedelijk Museum, De Appel arts centre, Rietveld Akademie, WG Kunst, Boekie Woekie. Amsterdam, NL (curated by Eva Gonggrijp and Gerrit Jan de Rook)
De Appel Timeline: 40+ Years of risk. De Appel arts centre, Amsterdam, NL
Préavis de Désordre Urbain#10. On borders and migrations. Outdoor locations and in La Friche la Belle de Mai, Marseille, France (curated by Christine Bouvier and produced by Red Plexus)
Same Difference: Equinox to Equinox | Day of Public Actions for Freedom and Democracy.
Performance with Rose Akras. Observation deck, A*DAM Tower, Amsterdam, NL (World wide event produced by BBEYOND, Belfast)
Fine art – Finance Lab @ 4Bid Gallery. OT 301 Overtoom, Amsterdam, NL
VERBO. 12. Mostra de performance arte. Galeria Vermelho, São Paulo, Brasil (curated by Marcos Gallon)
MIP3. Manifestação Internacional de Performance. SESC Palladium, Belo Horizonte, Brasil (curated by Marco Paulo Rolla)
RAPID PULSE #5. International Performance Art Festival.
Defibrillator Gallery. Chicago, US (produced by Joseph Ravens and team)


TheParallelShow#3. M Museum, Leuven, Belgium
TheParallelShow#2. Naturalis Biodiversity Center, Leiden, NL
(TPS is an initiative of the Unnoticed Art festival/Frans van Lent)
A Call For Drawings. BAK basis voor actuele kunst, Utrecht, NL
(project curator: Klaas Hoek/MAHKU)
LIVE/LIFE: Interactive Performances and Installations. Ledeberg square, Gent, Belgium (produced by Monali Meher for Achturenhuis)
3. CIPAF. Cyprus International Performance Art Festival. (ARTos Foundation) Nicosia, Cyprus
SummerShow. Francis Boeske Projects & Nieuw Dakota, Amsterdam, NL
lying-sitting-standing-walking-jumping-flying/falling. Of what people do – and how. Künstlerforum, Bonn, Germany (curated by a.o. Boris Nieslony)
PERFORMANCEFESTIVAL with traces. Pictura, Dordrecht, NL
ANDERS SEIN. Six artists, 2 countries, five nationalities. City centre, Neuss, Germany (curated by Peter Baren and Klaus Richter. Produced by Kulturforum Alte Post)   ART THE HAGUE. With Publishing House De Zwaluw [The Swallow], The Hague, NL 


STAGE IT! Series of presentations on performance art. Stedelijk Museum, Amsterdam, NL. Blind Dates With The History Of Mankind. PERFORMANCES 1980 – 2013 (curated by Hendrik Folkerts)
Graft and Transplant. Entity Conception Exhibition. Blue Roof Art Festival. Chengdu, China (curated by Zheng Zhihai)                                                                            ONCE UPON A TIME…THE COLLECTION NOW [Counter-Cultures 1965-  1985] Van Abbe Museum, Eindhoven, NL (curated by Diana Franssen)         


DEFRAMED. Infr’Action Venezia 2. International Performance Art Event. Venice, Italy (produced and curated by Jonas Stampe)
11. MALAMUT Performance Art Festival. Ostrava, Czech Republic              exist-ence 5. International festival and symposia. Queensland College of Art Project Gallery, Brisbane (AUS) produced by Rebecca Cunningham and Nicola Morton
exist-ence 5. International festival. A For Atlas, Melbourne (AUS)
exist-ence 5. International festival. PACT, Sydney (AUS)


XIV. International Art Festival INTERAKCJE. Galeria ODA, Piotrkow Trybunalski, Poland
DISPLACING TIME. ORANGERIE Theater im Volksgarten, Cologne, Germany (produced by PAErsche Aktionslabor NRW)
Elita festival. PAE Rotterdam presentation. Teatro Franco Paronti, Milan, Italy (produced by Wolfart Project Spaces)
THE INEVITABLE. 222 LodgeExtern at SBK/Stichting Beeldende Kunst, Dordrecht, NL (produced by Frans van Lent)


TRANSMUTED festival internacional de performance. Ex Teresa Arte Actual, Mexico City, Mexico (produced by Martin Renteria)
4. existence. a live art event. Powerhouse and Metro Arts, Brisbane, Australia (produced by Rebecca Cunningham for exist)
Ill Repute. UNIT/PITT Projects, Vancouver, Canada
13. International Multimedial Art Festival (IMAF). MAS Gallery, Odzaci, Serbia (produced by Nenad Bogdanovic)
Exchange Radical Moments! PAErsche and Die Fabrikanten. Orangerie-Theater, Cologne, Germany [with PAErsche]


Guangzhou Live 010. 53 Art Museum, Guangzhou, China (curated by Jonas Stampe)
An elusive sense of intimacy. Grace Exhibition Space, New York, US (produced by Jill McDermid)
Fountain Art Fair. Miami, US (with Grace Exhibition Space, New York)
What’s New? Acquisitions. Museum Arnhem, Arnhem, NL (curator: Mirjam Westen)
INFR’ACTION 6. Festival International d’Art Performance. Sète, France (curated by Jonas Stampe and Nadia Captaine)
PAE#3. Performance Art Event. Wolfart Project Spaces, Rotterdam, NL
12th International Multimedial Art Festival IMAF. MAS Gallery, Odzaci, Serbia Exist-ence. live, film, art-i-fact. White Canvas Gallery, Brisbane, Australia (produced by Rebecca Cunningham for exist)
IN:ACT. international performance art event. Nhasan Studio, Hanoi, Vietnam (with exist-ence, Brisbane)


10th OPEN ART International Performance Art Festival. 798 Art Zone, Beijing, China (curated by Chen Jin)
Préavis de Désordre Urbain#3. La Friche la Belle de Mai and outdoor locations in Marseille, France (produced by Christine Bouvier for RedPlexus)
The manifold (after) lives of performance. Frascati theater, Amsterdam
(curated by Ann Demeester). Co-produced by de Appel arts centre, Amsterdam, NL and STUK kunstencentrum/ PLAYGROUND festival, Leuven, Belgium
Made In Arnhem INVITES/35 Years Of Art Festivals. Museum Arnhem, Arnhem, NL (curated by Mirjam Westen)
XI. International Art Festival INTERAKCJE. Galeria ODA, Piotrkow Trybunalski and Galeria BWA, Bielsko Biala, Poland (curated by Dariusz Fodzcuk)


ASIATOPIA 10. BACC /Bangkok Art And Culture Centre, Bangkok, Thailand (curated by Chumpon Apisuk)
Visibility Project 4. Galata Perform, Istanbul, Turkey
Préavis de Désordre Urbain#2. Outdoor locations and in La Friche la Belle de Mai, Marseille, France (produced by Christine Bouvier for RedPlexus)
Exist in 08. International Live Art Event. The Judy Wright Centre of Contemporary Arts, Brisbane and Artsworx, Toowoomba, Australia (produced by Rebecca Cunningham for exist-ence)


The National Review of Live Art/ New Moves International. Tramway, Glasgow, United Kingdom (curated by Nikki Milican)
INPORT. 5th International Video-performance Art festival. Kanuti Gildi SAAL, Tallinn, Estonia (curated by Gert Hatsukov)
Incantation in the sense of stillness. Bewaerschole, Burgh-Haamstede, NL with Aaron Williamson and Toine Horvers (Curated by Anet van de Elzen).


Kunstvlaai 6/Art Fair. Westergasfabriek, Amsterdam, NL (with Performance Lab)
PERFORMANCE. Registrations #1. Sub-urban video lounge, Rotterdam, NL (produced by Toine Horvers)


Altered States. LIVE2005. Performance Art Biennale. Vancouver, Canada (curated by Jeremy Turner)
BLURRR 5. The Fifth Biennial of Performance Art. CCA/ Center for Contemporary Art and outdoor actions in Tel Aviv, Israel (curated  by Sergio Edelsztein)
Acts of Faith and Generosity. Imperceptible. The earth rings. 2nd Annual Festival of Contemporary Art. La Bisbal d’Emporda and La InteriorBodega, Barcelona, Spain (produced and curated by Denys Blacker / EBENT)
Castle of Imagination. 13th festival of Performance Art. Slupsk, Ustka, Krakow and Torun, Poland (produced and curated by Wladislaw Kazmierzcak)
Close Encounters. Trace. Installaction space. Cardiff, UK (produced and curated by Andre Stitt)


CURRENCY 2004. An International Festival of Contemporary Performance.
New York, US (curated and produced by Dan McKereghan)

I NEED YOU. Kunsthaus PasquArt, Biel, Switzerland (curated by Beate Engel)



Performances en andere presentaties 2019 – 1979  [NL versie]  inclusief bibliografie


PETER BAREN  CV 2019 -1979 lange versie

1954 geboren in Haarlem
1972-1977 studie aan de Rijksakademie van beeldende kunsten, Amsterdam
Woont in Amsterdam en werkt aan

Performances en andere presentaties:


CONNECTION > EUROPA 3. Santiago, Chili (geproduceerd door PERFOLINK)
BLAUVERSCHIEBUNG Internationales Performance Festival Leipzig. Duitsland [ism Galerie KUB / MdbK Museum der bildenden Künste]
là-bas experimental live art. Kiasma Museum, Helsinki, Finland



Twelve Years: The Archives of Scene.  UP-ON International Live Art Festival 2008-2020. Lushan Art Museum, Chengdu, China                                                               WHAT REMAINS: On the Sacred, the Lost and the Forgotten Relics of Live Art.           ARC Gallery/ Zhou B art Center, Chicago, US                                                                 Primera Trienal de Performance DEFORMES. Santiago, Chile                                             7th UP-ON Live Art Festival. Videopresentations in Wu Temple, Chengxiang’s old town, Chengdu, China                                                                                                           Corona-archives Passage. Nieuw Dakota, Amsterdam

2019                                                                                                                                                       LOCUS SOLUS [Artist Practice in Progress]. Amsterdam NL
Tentoonstelling: 16 November – 7 December.
CONFRONTATION II. franck gribling reageert op het werk van Joseph Sassoon Semah ihkv ON FRIENDSHIP [Collateral Damage] III. The Third GaLUT. De Gast wordt Gastheer. PB bijdrage: ON HOPE AND OTHER TERMINAL BODIES. series of 3 fotowerken [2006]                                                                                                                             ON FRIENDSHIP [Collateral Damage] III. The Third GaLUT. Hermitage [during Museum Night],  Galerie Lumen Travo, Free Mason Foundation, Goethe Institute, Jewish Historical Museum en Arti et Amicitiae, all in Amsterdam and in Sittard – Museum Hedendaagse Kunst De Domeinen.                                                                                                                      PROJECT ID. In-between identities.
Organisation: P.S. PerformanceSite, Den Haag in cooperation between VestAndPage and Marilyn Arsem. The Hague, NL. 23 June – 7 July 2019.

ART ACTION 1998-2018. RiAP / Rencontre Internationale d’Art Performance. Le Lieu [Canada]. Exhibitions, conferences, publication.                                                                       TAC#30. TransArt Communication festival. Nové Zámky, Slovakia [Csemadok Hungarian Culture House]                                                                                                                                   TAC#30. 1988-2018 The exhibition. Ernest Zmetak Gallery, Nové Zámky, Slowakije TEMPTING FAILURE#18. London Biennial of Performance Art and Noise. Croydon, London, UK [Braithwaite Hall]                                                                                        TheParallelShow [#1-10]. Kunsthal, Rotterdam, NL                                                                   ART ACTION 1998-2018. RiAP / Rencontre Internationale d’Art Performance. Le Lieu , Quebed, Canada. Exhibitions, conferences, publication. September – December Opeenvolgende documentaire tentoonstellingen uit diverse continenten gekoppeld aan een verscheidenheid aan sprekers. [foto’s van de EUROPA presentatie]

Le Lieu organiseert het vervolg op ART ACTION 1958-1998 [het eerste grote overzicht] dat in een evenement, conferenties, tentoonstellingen en bijbehorende publicatie over deze periode resulteert.
Programmaduur: September – December 2018.
Samenstelling: Richard Martel e.a.

Continenten die worden gepresenteerd zijn: Canada en de autochtonen, Noord- Midden- en Zuid-Amerika, Afrika, Europa, Azië en Oceanië.

Een van de EUROPAdeelnemers was Ieke Trinks. Op 11 november 2018 gaf zij een lezing over PERFORMANCE ART AND ARTISTS INITIATIVES IN THE NETHERLANDS. Tijdens deze lezing liet zij ook een aantal voorbeelden van PB performances zien.

In 2018 heeft Ieke Trinks mij ondervraagd over mijn praktijk tijdens de genoemde periode en gaat dat verwerken in haar tekstbijdrage aan de komende publicatie ART ACTION 1998-2018.

Er zijn van PB de publicatie PERFORMANCES 1980-2013, 2007 en 2017 video’s en een aantal performancefoto’s gepresenteerd binnen de documentaire tentoonstelling die rondom de sprekers uit Europa te zien was.

Van de serie PERFORMANCE MONOLOGUES is mijn performance Stations Of Nameless Energy uit 1987 door haar uitgesproken (zie ook verslag uit juni 2016).


PB Performance THE WEIGHT OF LOVE. Locatie: [Csemadok Hungarian Culture House]. Nove Zamky SK [2018, 6 – 9 september].
TAC#30 TransArt Communication.

Foto’s: Ondrei Berta, Lehel Toth

People’s intervention with fifth stone

Whispering [and louder and louder!]:

I loved you too!


Leaving the fear behind…

Nové Zámky. Trhovisko Markt – open performance.Foto’s: Lehel Toth

FRACTURED BODIES. TEMPTING FAILURE 2018. London’s Biennial of International Performance Art and Noise. Croydon, London UK. Foto’s: Julia Bauer. Juli 2018.
Blind Dates With The History Of Mankind [On Hope, Rage Time And Other Terminal Bodies] Braithwaite Hall


Studie voor BLIND DATES WITH THE HISTORY OF MANKIND [HOPE, RAGE, TIME AND OTHER TERMINAL BODIES]. London en voor Stedelijk Museum Aankopen, Amsterdam februari 2018.

Foto’s: Theun Okkers. Spoken word performance en boekpresentatie.


BLAUVERSCHIEBUNG No10. Internationales performancefestival Leipzig. Galerie KUB en Museum der bildenden Künste, Leipzig, Duitsland

On Friendship (Collateral Damage) Guardians of the Door. De Nieuwe Kerk, Stedelijk Museum, Joods Historisch Museum, Goethe Instituut, Amsterdam, NL [deelname in DNK en Stedelijk Museum met verschillende performances in een project van Joseph Semah]

SAME DIFFERENCE: EQUINOX TO EQUINOX. [the film – vertoningen tijdens:] Blue Evening. Galerie Koppelmann – Kunstwerk Nippes, Cologne, Germany / Mobilize: Performance Art from Ireland. Cyberarts Gallery, Boston, US and in Human Resources LA. Los Angeles, VS

FLAM VII. Forum of Live Art. Arti et Amicitiae and theater Frascati, Amsterdam NL

PLATFORMS PROJECT. Athene, Griekenland [THE SHOWS, presentatie en productie door Unnoticed Art/ Frans van Lent]

ART ROTTERDAM. INTERSECTIONS. Van Nelle fabriek, Rotterdam. [geproduceerd door FLAM Forum of Live Art]

BLIND DATES WITH THE HISTORY OF MANKIND [HOFFNUNG, EXIL UND TOT] Performance. Galerie KUB, Leipzig. Foto’s: Christian Liefke


Arti et Amicitiae, Amsterdam. Mei / juni 2017. Geproduceerd door: FLAM#7. Forum of Live Art amsterdaM. Foto’s: David Cenzer, Peter Franken

On Friendship (Collateral Damage) Guardians of the Door. Amsterdam. Juni-october 2017. Project van Joseph Semah met PB performances in o.a. De Nieuwe Kerk en Stedelijk Museum. Andere partners: Joods Historisch Museum, Goethe Instituut. Foto’s: Ilya Rabinovich

De Nieuwe Kerk, Amsterdam, NL

Stedelijk Museum Amsterdam.

+ close up black square

ART ROTTERDAM. Februari 2017. Bij de FLAM stand werd een performance uitgevoerd met gebruikmaking van gescheurde letters van Nederlandse Grondwet en ontstond een nieuwe tekst met als titel: PEACE WILL COME TO ME! I’M GOING TO LIGHT UP THE WORLD: [ontleend aan een nummer van Depeche Mode]

ART ROTTERDAM. Rondgangen over het beursterrein met tekstbord

Verscheidene dagen werden rondgangen gemaakt over het beursterrein met
tekstbord dat onregelmatig omhoog gehouden werd:


LET IT KEEP SECRETS. Project around the early work of Michael Gibbs (1949-2009).
PB performance in Soledad Senlle Art foundation. Andere presentaties in Amsterdam [NL] zijn: Stedelijk Museum, De Appel arts centre, Rietveld Academie, WG kunst, Boekie Woekie

SAME DIFFERENCE. Equinox to Equinox (Worldwide Performance Day).                  Performance met Rose Akras. A’DAM Toren – observatiedek, Amsterdam, NL (geproduceerd door BBEYOND, Belfast)

Préavis de Désordre Urbain #10. Kiosk Canebière, Oude haven, Esplanade J4, Marseille, Frankrijk

VERBO. 12th Mostra de Performance Arte. Galeria Vermelho, São Paulo, Brazilië

MIP3. Manifestacão Internacional de Performance. SESC Palladium, Belo Horizonte, Brazilië

RAPID PULSE#5. Defibrillator Gallery, Chicago, VS

FINE ART – FINANCE LAB. 4BID Gallery. OT301, Amsterdam, NL

BLIND DATE WITH MICHAEL GIBBS [SECRET IT IS]. Performance Soledad Senlle Art Foundation, Amsterdam 2016. Foto’s: Gert Jan van Rooij. (Boomerangs read OPEN / MIND / EXTINCTION). Project around Michael Gibbs [1949 – 2009] Andere locaties o.a. Stedelijk Museum, De Appel, Rietveld Akademie, Boekie  Woekie

Laatste actie: positie onder jurk [uit een MG installatie]. Michael Gibbs’ stem: SECRET IT IS

10th Preavis de Desordre Urbain. ON BORDERS AND MIGRATIONS. Marseille (F) 2016. Outdoor performances on different locations.
Date: 6-17 September. Performance: Peter Baren
Duration: 1 hour on different locations: Friche la Belle de Mai, Kiosk Canebiere, Kiosk Old Harbour, Kiosk Esplanade J4

A temporary kiosk on different locations, covered with black foil. People present are lead through a shaft and are facing the barricaded construction.
In between several actions circular walking is performed holding up a text board TOUT DOIT DISPARAITRE! [EVERYTHING MUST GO!]
facing out and shouting at the top of lungs: EST_CE QU’ON AVEUGLE?! [ARE WE BLIND?!].

Cutting holes in black fencing to get people closer, holding up slips of papers in front of these holes, which read DISCOVER HEAVEN in different languages, tearing them up after showing, cover face in book (after reading sentences from RAGE AND TIME) followed by deep sigh, pulling out white handkerchiefs from chest pocket, forming a long string, hanging down.

Last circular walk with textboard, shouting several times at top of lungs EST_CE QU’ON AVEUGLE?! [ARE WE BLIND?]

The evening falls…

Jennie Klein blog text for RAPID PULSE #5. International Performance Festival. Defibrillator Gallery, Chicago, June 2016

Peter Baren. Blind Dates With The History Of Mankind

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

12th VERBO. Galeria Vermelho, Sao Paulo. Foto’s: Edouard Fraipont

BDWTHOM. RAPID PULSE #5. Chicago 2016. Foto’s: Vela Oma, Jeremy Sublewski


TheParallelShow#3. M Museum , Leuven, Belgium (TPS is een initiatief van Unnoticed Art Festival)

TheParallelShow #2. Naturalis Nationaal Natuurhistorisch Museum, Leiden, NL (TPS is een initiatief van Unnoticed Art Festival)

A CALL FOR DRAWINGS. BAK, basis voor actuele kunst, Utrecht, NL (project curator: Klaas Hoek)

ANDERS SEIN. Six artists, two countries, 5 nationalities. Neuss, Duitsland. Performances in publieke ruimte. Curators: Klaus Richter, Peter Baren. Geproduceerd door Kulturforum Alte Post

LIVE/LIFE. Interactive performances in public spaces. Ledeberg square, Gent, Belgium (curator: Monali Meher)

PERFORMANCEFESTIVAL with traces. Pictura, Dordrecht, NL

3. CIPAF. Cyprus International Performance Art Festival. Study Room- tentoonstellling. ARTos Foundation, Nicosia, Cyprus

SummerShow. Francis Boeske Projects & Nieuw-Dakota, Amsterdam, NL

Laying – Sitting – Standing – Walking – Jumping – Flying – Falling. What people do – and how. Künstlerforum, Bonn, Germany (curator o.a. Boris Nieslony)

Neuss 2015. Foto’s: Andreas Woischutzke.


STAGE IT! Serie presentaties en lezingen over performancekunst.
PETER BAREN. Blind Dates With The History Of Mankind. Performances 1980-2013.
Stedelijk Museum, Amsterdam, NL (curator: Hendrik Folkerts)

ER WAS EENS…DE COLLECTIE NU. Van Abbemuseum, Eindhoven, NL [Tegen Culturen 1965-1985] (curator: Diana Franssen)

Graft and Transplant. Entity Concept Exhibition. Blue Roof Art Festival. Chengdu, China (curator: Zheng Zhihai)
I am not doing anything until I feel the need. De Nederlandsche Bank en OBA,Amsterdam, NL (geproduceerd door Joanneke Meester)

STAGE IT! Serie van presentaties over performancekunst. Stedelijk Museum, Amsterdam NL. Mei 2014.

PETER BAREN. Performances 1980-2013. Boekpresentatie. Curator: Hendrik Folkerts.

Introductie: Britte Sloothaak. lezing Marga van Mechelen. Presentatie van eerste exemplaar met Koos Dalstra en vraaggesprek met Alex de Vries. Foto’s: Gert Jan van Rooij

Presentatie eerste exemplaar, met Dalstar

Lezing Marga van Mechelen

Interview met Alex de Vries en Vertoning van ARK [UNKNOWN PLEASURES] performances in Tel Aviv, 2007

DEFRAMED. Infr’Action Venezia 2. International Performance Art Festival. tijdens de openingsdagen van de 55ste Biënnale van Venetië, Italië [samenstelling: Jonas Stampe]

exist-ence 5. International, Brisbane/ A FOR ATLAS, Melbourne/ PACT, Sydney, Australië

11th. MALAMUT Performance Art Festival. Ostrava, Tjechië

BLIND DATES WITH THE HISTORY OF MANKIND (Struggles, Loss, Absence). Venice, Italië 2013.
Foto: Wolfgang Traeger

TRANSMUTED. Festival Internacional de Performance.
Ex Teresa Arte Actual. Mexico-Stad 2011. Foto’s: Martin Renteria, Willem Wilhelmus

Guangzhou Live 1. 53 Art Museum, Guangzhou, China 2010. Foto: Ge Zeng, Hongtao Zhang, Luo Ming. SCORE:

Publicatie De FABRIEK EEN BOEK OM MEE TE SLAAN 30 jaar Kunstenaarsinitiatief Eindhoven 2010 ———————————————————————————————————-
Peter Baren, 1954 Door: Ines den Rooijen                 OMGEKEERDE ZAKKENROLLER


Op het performance festival ‘Frame Experiment’ van Willem II fabriek in Den Bosch (het latere Artis) doet hij zijn eerste publieke performance. Direct daarna ontmoet hij Peer Veneman, die op dat moment samen met Bart van de Ven ‘The Living Room’ aan het opzetten is en hem vraagt om daar als eerste een performance te doen. In 1981 volgen de uitnodigingen elkaar snel op en doet Peter Baren de performance Grondruimte in De Fabriek waarvoor hij de kelder onder water zet en zelf in de donkere spiegelende ruimte rondwaart. “De Fabriek was net gekraakt en als je er iets deed was dat niet alleen een presentatie geven, er was ook meteen een ander soort proces. Je verbleef er langer en we zaten tot diep in de nacht over het werk te praten.”
Peter Baren hield in de gaten wat er in De Fabriek gebeurde. Omdat hij in 1982 een performance doet in de Moriaan in Den Bosch waar alle kunstenaarsinitiatieven in Nederland zich presenteerden kwam hij weer in contact met een (uiteenlopende) groep mensen die bij De Fabriek betrokken waren, o.a. Bram Cox, Thieu Klijn, Bert Hermens, Ton Scheerder, Dick Verdult. In 1987 verblijft Peter Baren gedurende een werkperiode van twee weken in De Fabriek met presentaties tijdens twee weekeinden. Om mensen te interesseren om aan zijn performance mee te doen geeft hij een presentatie op de Academie voor Vormgeving in Eindhoven en vindt 16 enthousiaste studenten die aan het project mee willen doen.
Getoond worden 8 Staties Van Naamloze Energie die de zwaartekracht tarten. Op de vloer zijn 300 halve autobanden geplaatst en op een endless tape is ‘The Walrushunt’ van The Residents te horen. De steeds wisselende exploratie is overdag extra belicht, ’s avonds moeten de bezoekers zelf door middel van knijpkatten inzicht verkrijgen. “Door het publiek knijpkatten (soort zaklampje) te geven richt je de blik van de kijker; die foto’s van Peter Cox zijn dan een cadeautje.”
In die tijd spreekt Peter Baren van exploraties, omdat hij dat woord passender vond dan performance. Het woord exploratie (onderzoeking van een nog weinig bekend gebied) geeft aan dat alles wat zich in een ruimte bevind onderdeel van het gebeuren op dat moment is. ”Het is het bij elkaar brengen van materiaal, lichamen, ruimte en geluid; een dramatisch gegeven zonder verhaallijn.”

RE-ENACTMENTS Van begin af aan gebruikt en hergebruikt Peter Baren (delen van) eerdere performances waardoor zijn werk zich blijft ontwikkelen. In november 2009 doet hij voor de Appel in Theater Frascati in Amsterdam de heropvoering van een werk uit 2007- in het kader van het symposium ‘The Manifold (after) Lives of Performance’. De Black Box werd voor dit doel door Baren in zijn geheel veranderd door het egale werklicht (TL’s) te gebruiken in combinatie met een rookmachine en hard geluid. Door de mist te verlichten werd de ruimte helder en ontstond een ruimtelijke ervaring. In deze omgeving werden de aanwezigen op zichzelf teruggeworpen en riep het een zekere verlatenheid, maar ook intimiteit op.
Omdat Peter Baren veel in het buitenland doet en soms op meerdere plekken tegelijk uitgenodigd wordt, heeft hij ook de wens werk te maken dat op zichzelf een eigen leven kan gaan leiden. Op dit moment is hij met een (tweede) DVD bezig die als zelfstandig werk kan functioneren. Uitgangspunt hiervoor zijn eerder uitgevoerde performances en onderzoekt hij mogelijkheden om daar een intrigerende vorm voor te vinden. Het is een nieuwe stap in de ontwikkeling. Het werk is niet speciaal voor een vertoning in scène gezet maar Peter Baren gebruikt de neerslag van een performance die daadwerkelijk heeft plaats gevonden.
“In 2007 heb ik een dergelijk eerste werk (ARK- Unknown Pleasures- performing DVD) vanuit een kantoorvenster op de hoek Prinsengracht- Leidsestraat in Amsterdam laten zien. De projectie (3×4 m) was afkomstig uit een performance in Tel Aviv en liet o.a. een treffend beeld van kwetsbaarheid zien; een zwaar ademende man waarvan het gezicht in zijn geheel met een Palestijnse hoofddoek ingezwachteld is. Het werk is een onderdeel van de ARK serie (begonnen in New York, Currency 2004) en werd elke nacht, 3 maanden lang van 22:00 – 6:00 uur de openbare ruimte in geprojecteerd. Tijdens de verlaten uren wil ik mensen als een omgekeerde zakkenroller beelden toestoppen voor kortere of langere tijd.”

TRANSMUTED. Festival Internacional de Performance. Ex Teresa Arte Actual, Mexico-stad
exist-ence. a festival of live art. Powerhouse en Metro Arts, Brisbane, Australië
13. International Multimedial Art Festival (IMAF). MAS Gallery, Odzaci, Servië (cat.)
Exchange Radical Moments! PAErsche and Die Fabrikanten. Orangerie-Theater, Keulen, Duitsland

Guangzhou Live. 53 Art Museum, Guangzhou, China.
Performance Art Event (PAE#3). Wolfart Projectspaces, Rotterdam, NL
Fountain Art Fair. Miami, US (met Grace Exhibition Space, New York)
An elusive sense of intimacy. Grace Exhibition Space For Live Art, New York, US
6. Infr’Action. Festival International d’Art performance. Sète, Frankrijk
BrisFest. Under the Radar Forum. Brisbane, Australia (met exist-ence, Brisbane)
IN:ACT. international performance art event. Nhasan Studio, Hanoi, Vietnam (met exist-ence, Brisbane)
WHAT’S NEW? Aanwinsten. Museum Arnhem, Arnhem, NL
exist-ence. performance, live, film & arti-fact. White Canvas Gallery, Brisbane, Australië

10th OPEN International Performance Art Festival. 798 Art Zone, Beijing, China
Fountain Art Fair. Miami, US (met Grace Exhibition Space, New York).
The Manifold (after) Lives of Performance. Frascati, Amsterdam. Co-productie met de Appel arts centre, Amsterdam, NL en PLAYGROUND festival / STUK kunstencentrum, Leuven, België
Préavis de Désordre Urbain #3. Marseille, Frankrijk
Art Force 1. Israeli Center for Digital Art, Holon, Israel (curator: Meir Tati)
INTERAKCJE. 11th International Action Art Festival. Galeria ODA, Piotrkow Trybunalski en BWA, Bielsko Biala, Polen
Made in Arnhem / INVITES. 35 jaar kunstfestivals. Museum Arnhem, NL


ASIATOPIA #10. Bangkok Art And Culture Centre, Bangkok, 2008. Foto: Phonsawek Chaiyasit.

ASIATOPIA. 10th International Performance Art Festival. BACC / Bangkok Art and Culture Centre, Bangkok, Thailand.
exist in 08. international live art event. Brisbane (The Judith Wright Center of Contemporary Arts) and Toowoomba (Artsworx, University of South Queensland), Australië
Visibility Project 4. Galata Perform, Istanbul, Turkije
Préavis de Désordre Urbain #2. Marseille, Frankrijk
InterAzioni XXI. Spazio ARKA, Assemini, Sardinië, Italië

The National Review of Live Art. New Moves International. Tramway, Glasgow, Scotl. (cat.)
INPORT. 5. International Video-performance Art festival. Kanuti Gildi SAAL, Tallinn, Estland
TRACES: Trace Gallery archive exhibition. Howard Gardens Gallery, Cardiff School of Art & Design, Cardiff, UK
PAULO POST FUTURUM. 25 jaar Lokaal 01. Breda’s Museum, Breda, NL
Incantation in the sense of stillness. Bewaerschole, Burgh-Haamstede, NL. Met Aaron Williamson en Toine Horvers.
ARK (Unknown Pleasures). DTN, Leidsestraat/hoek Prinsengracht, Amsterdam, NL (Performing video)

PERFORMANCE. Registrations #1. Sub-urban video lounge, Rotterdam,
KunstVlaai 6/ArtFair. Westergasfabriek, Amsterdam, NL (met Performance Lab)

LIVE. International Performance Art Biennale. Vancouver, Canada. (cat.)
BLURRR 5. Biennial of Performance Art. CCA en de stad Tel Aviv, Israel. (cat.)
Castle of Imagination. 13th International performance art festival. Krakow, Slupsk, Torun, Ustka, Polen

ARK (On Hope And Other Terminal Bodies). BLURRR 5. Biennial of Performance Art. Tel Aviv, Israel. 2005. Foto: Ruti Sela.

Imperceptible. The Earth Rings. 2nd Annual Festival of Contemporary Art. La Bisbal d’Emporda and Acts Of Faith and Generosity. La Interior Bodega, Barcelona, Spain

Close Encounters. trace: Cardiff, UK (cat.)

Currency 2004. An international festival of contemporary performance. Chashama at 217 E 42nd St, New York, US [met Seymour Likely]

I NEED YOU. Zum zusammenspiel von Kunst und Publikum. Kunsthaus Pasquart, Biel, Switzerland (ARK IN BIEL en STREET TEXTING) cat.

Performance Art In Context. Dartington College, Devon, UK

Nature of performance Performance in nature. 5th International Multimedial Art Festival (IMAF). Odzaci, Servië

Welcome to the Avantgarde. Performance Open (PAF). Public Theatre, Cleveland, Ohio, US

BEGGARS BANQUET [Discover Heaven]. Nové Zámky SK 2002. Doorlopende serie. Foto’s: Lehel Toth.

TransArt Communication. 13th international Performance Art Festival. Nové Zámky, Slowakije (cat.)

Currency 2002/Exchange. An international festival of contemporary performance. Chashama, New York, US

2001 Pitfalls. Performance project: Province of Zeeland (NL) and Venice, Italy (met Koos Dalstra)

ANGEL.DUST Performance stills. Station Sloterdijk, Amsterdam, NL (opdrachtgever: Amsterdams Fonds voor de Kunst)

The Black Kit. A Skulpture of Public Interest. Seedamm-Kulturzentrum, Pfäffikon, Zwitserland
(geproduceerd door ASA / Boris Nieslony)

1999 (- 1997)
COVERS. Ljubljana, New York, Vlissingen, Cagliari, Amsterdam, Venetië, Warschau

The Year Of Installation. ArtPool en P60, Budapest, Hongarije

Red Light District- Images Of Desire. Vrieshuis Amerika, Amsterdam, NL

TransArt Communication (TAC). Multimedia festival, Cinema MIER, Nové Zámky, Slowakije

Budapest Autumn festival (TAC). Mücsarnok, Palace of Exhibitions, Budapest, Hongarije

LUST (AND OTHER TERMINAL STATIONS). Palffyho palace/City Gallery, Bratislava, Slowakije

Niederländische Performance Tage. Kunstraum, Düsseldorf, Duitsland

DIJKWACHT. Kunst en poezië op de grenzen van Flevoland. Lelystad, NL (STRELEN VAN DE DIJK)

ABBEY ROAD. Performanceproject met Koos Dalstra. Slewedorp-Middelburg 2000. Foto’s: Leo van Kampen.

2001 Pitfalls. Performanceproject met Koos Dalstra. Vloedlijn, Vlissingen, NL 2000. Foto’s: Wim de Maat

STRELEN VAN DE DIJK, 1996. Kunst en poëzie op de grenzen van Flevoland (polderdistrict).
Dagelijkse performance. Hooischudder met afgietsels van handen van arbeiders en bezoekers die de dijk strelen, Lelystad.
Foto’s: Edo Kuipers

Locatie IJsselmeerdijk [omgeving Lelystad]

Afgieten en bewerken handen van bezoekers.

PROGRESS PROGRESS 1997. Performance bovenop Mücsarnok, Palace of Exhibitions, Budapest, Hongarije.
Foto’s: Lehel Toth. Onder: Performance op het Heldenplein Budapest, Hongarije. Foto: Lehel Toth

Trans Art Communication. 9th International Multimedial Art Festival. Mücsarnok Palace of Exhibitions. October 1997. Images: Lehel Toth

The Catwalk Collection: skull motive is painted on face during the presentation of performance- image- soundfragments over the last years. Performing objects are handed out and circulated between the rows of people present, to emerge tactile senses.
This presentation takes 20 minutes and is the prologue to go from there to the roof of Mücsarnok to perform PROGRESS PROGRESS.

Lecture and introducing PROGRESS PROGRESS. Performance.

Wekerom FOLLY EN PINGUIN. 1994. Foto: Jannes Linders.

[RED-HARING] FOLLY EN PINGUIN (IN EXTASE). Wekerom 1996. Opdrachtgever: SKOR, 1994. Foto’s: Jannes Linders, Tom van Gestel, Judith Glaus.

LUST (And Other Terminal Bodies) 1997. Bratislava, Palffyho paleis. Installatie met Carrousel, gevuld met schilderingen op mdf, Rollende Staties, muurtekeningen, stukken rots, vloerteksten en opening performance. Foto’s: Martin Marencin.

Paul Groot. Essay voor Bratislava installatie, mei 1997.

ROLLING STATIONS. The Mind On Scale. Spiegel-Saal, Kunstverein, Wiesbaden 1998. Produced by ILAP/Indoor Land Art Program. Foto: Peter Baren archief.

The Living Room. Eine Amsterdamer Galerie und die achtziger Jahre. Kunstverein Graftschaft Bentheim, Neuenhaus, Duitsland (cat.)
GOED ROEREN. De Fabriek 15 jaar. Eindhoven, NL

TRIPLE X (Contemporary Investigating Arts). Westergasfabriekterrein, Amsterdam, NL

AANWINSTEN. AMSTERDAM KOOPT KUNST. Stedelijk Museum, Amsterdam, NL (cat.)
3X4X2. Arti et Amicitiae, Amsterdam, NL (met Loodwicks Press Images)
Kiss And Say Goodbye. The Living Room 1981-1993. The Living Room, Amsterdam, NL
De l’Amour. Gallerie Satellite, Paris, Frankrijk
MORGEN GEMAAKT. Kunstenaars en fotografie in het huidige ‘Fin de Siècle’. Arti et Amicitiae, Amsterdam, NL

HILLS+MILLS. Dom Kultury, Bratislava, Slowakije (cat.)
SPIRIT performances. Cyprian Majernik Gallery, Bratislava, Slowakije (cat.)
ASAP. Beurs van Berlage, Amsterdam, NL
Belluard Bollwerk International festival. Middeleeuws kasteel, Fribourg, Zwitserland (SPIRIT)

LUST (And Other Terminal Bodies) 1990-93. 2D versie bestaande uit 10 delen, beide kanten beschilderd. Arti et Amicitiae. Amsterdam NL 1993. Foto’s: Peter Baren studio. Carrousel versie werd ook getoond in blauw gekleurd licht, Palffyho paleis, Bratislava SK 1997.

CARROUSEL STATIES. SlotervaartZiekenhuis, Amsterdam. 1992-1993. Foto: Edo Kuipers.

Gepke Bouma. OVERHOOP Werken op papier. October 1990

1995. The Living Room performance opnieuw uitgevoerd tijdens de opening van The Living Room
Eine Amsterdamer Galerie und die achtziger Jahre. Overzicht 1981-1993. Kunstverein Graftschaft Bentheim, Neuenhaus, Duitsland. Foto: Gert Jan van Rooij.

1981. The Living Room, Amsterdam

LUST [OR THE MIND ITSELF ATTACKS]. Bratislava, Dom Kultury 1992. Foto’s Martin Marencin.

IJsbrand van Veelen. PETER BAREN. HILLS +MILLS tentoonstelling. Dom Kultury, Bratislava 1992. Foto: Paul Blanca. The artist with daughter.

DE VIER JAARGETIJDEN / The Four Seasons. Ontwerpen voor MUPI straatmeubilair 1992.

Performance stills

GELIJKE MONNIKEN, GELIJKE KAPPEN. Rondgangen tijdens KUNSTRAI, Amsterdam 1991. ism Koos Dalstra en Stichting De Achterstraat, Hoorn. Foto’s Serge Ligtenberg, Edo Kuipers.


Pentagonale Plus. 25 Years of Richard Demarco Gallery. Edinburgh, GB
III. Spotkan teatru wizji i plastyki. Katowice (Poltel Filmstudios), Polen (cat.)
KunstRAI. Art Fair Amsterdam. NL (met Koos Dalstra en Stichting De Achterstraat, Hoorn)
Editions. Galerie Tanya Rumpff, Haarlem, NL
THE LATE SHOW with Seymour Likely. Club Seymour Likely 2, Amsterdam, NL
‘R’ project. Zaal de unie, Rotterdam, NL (geproduceerd en samengesteld door Koos Dalstra)


Franklin Furnace presents SPIRIT. Peter Baren performances at The Loft, 466 Washington St. New York, US. Met als gast Seymour Likely [Cares For A Day Without Art]
Kontexte. Badischer Kunstverein, Karlsruhe, Duitsland (cat.)
Kunst en Openbaarheid. Rijksmuseum Twenthe, Enschede, NL (cat.)
EN PASSANT. Off Holland. Amsterdam. (SPIRITS IN THE MATERIAL WORLD/Text Twisters – rotonde Mr. Visserplein) cat.


2-3-4 November. Performance Tage. Shedhalle, Zürich, Zwitserland (cat.)
Beyond Performance. Arti et Amicitiae, Amsterdam, NL (cat.)
Polyphonix 14. Festival international de Poésie, Musique, Vidéo et Performance. Parijs, Frankrijk
Beeldende Kunst Biennale Noord-Holland. De Achterstraat, Hoorn, NL                            Island For Lost Souls. Galerie d’Eend on top, Amsterdam, NL
Prix de Rome, Art & Theatre. Museum Fodor en Stadsschouwburg, Amsterdam, NL (cat.)
Inszenierte Fotografie. Kulturforum Alte Post, Neuss, Duitsland (cat.)                                       Festival a/d Werf. Utrecht, NL (Neude gebouw)                                                                Videokunst en films. Arti et Amicitiae, Amsterdam, NL

SPIRIT. PETER BAREN Performances for Franklin Furnace. The Loft. 466 Washington St. New York. Featuring Seymour Likely Cares For A Day Without Art. 30 November and        1 December 1990. Images: Jayne Hinds, Nina Sobell.

Is There Really Nothing More Important Than A Short Moment Of Joy?

STEEN DES AANSTOOTS [Ruimte Van Verloren Voetstappen]. Maart 1990.
KUNST EN OPENBAARHEID. Studium Generale. Rijksmuseum Twenthe, Enschede/ AKI.
Foto: Henk Kamphuis. Organisatie: Jan van Delft, Albert van der Weide.

ETANT DONNéS peepshows door kunstenaars. Amsterdam, 1988-1989. Geproduceerd door Franck Gribling / City Thoughts.

Mark Peeters. De Volkskrant 24 october 1989

ROB PERREE essay voor Franklin Furnace performance. New York, November 1990.
Editie kunstenaar.



WE WANNA LOOSE OUR HEADS FOR ANYTHING [IN TIME]. BEYOND PERFORMANCE. Arti et Amicitia, Amsterdam 1989.                                                                SPRING TIDE. Chisenhale Gallery and Dance Space, London 1988. Foto’s: Kees de Graaff

Beyond Performance. Rob Smolders. Metropolis M. Nr. 2, 1989.

ECHO OF HISTYRIA [OR THE MAN ON THE CLOCK]. 1988. Foto op aluminium. 95 x 85 cm.
Collectie: Kunstenaar.

STATIE 1. 1987. Acryl- en latexverf op papier. 157 x 205 cm. Coll. Stedelijk Museum, Amsterdam.

ECCE HOMO [HOLLANDSE ZWAARTEKRACHT]. 1985. Acryl- en daglichtverf op papier. 224 x 297 cm. Coll. Kunstenaar.

TEXT TWISTERS. Spirits In The Material World. 1990 – 1992. Gerealiseerd voor OFF HOLLAND FESTIVAL. Locatie: Rotonde Mr. Visserplein, Amsterdam. Een opdracht van de Gemeente Amsterdam ism Vereniging van Mediakunstenaars. Foto’s: Peter Cox.

TEXT TWISTERS. Spirits In The Material World. Rotonde Mr. Visserplein, richting Weesperstraat. Amsterdam 1990 – 1992. Foto: Peter Cox.

VANITAS POLEN. 1994. Tijdens TRIPLE X. Contemporary Investigating Arts. Westergasfabariek, Amsterdam. Foto’s: Edo Kuipers [Latijnse tekst en stadia van een retrovirus]

Bezugspunkte 38 / 88
15.10.1988 – 08.11.1988
Schuld und Unschuld der Kunst 1988
Bezugspunkte 38 / 88
Bildende Kunst
Art des Projekts
Öffentlicher Raum, Installation, Performance
Grazer Stadtgebiet, Universität Graz, Schloßberg

Bezugspunkte 38/88
Hans Haacke: “Und Ihr habt doch gesiegt”.
Am Eisernen Tor, rekonstruierter Obelisk, 1988, Sammlung Generali Foundation – Dauerleihgabe am Museum der Moderne Salzburg, © Generali Foundation, © VG Bild-Kunst, Foto: Angelika Gradwohl
steirischer herbst 1988 Bezugspunkte 38/88 Foto: Angelika Gradwohl

steirischer herbst 1988 Bezugspunkte 38/88 Peter Baren, “Echo of Histyria” Foto: Christian Jauschowetz

POINTS OF REFERENCE 38/88. Graz, Oostenrijk.

ECHO OF HISTYRIA. Durational incident. October/ November 1988.

The landmark of the city has survived both the French Wars and World War I and II undamaged. Like a logo, it represents Graz. An artist’s interference with such an object is tantamount to sacrilege; on the other hand, such a landmark is one of the most effective locations for art in the public space. Starting from these considerations –and relating his work to the topic of the Bezugspunkte (points of reference)– Peter Baren stops the time (at least on one side of the tower) for 25 days. The hands stop in vertical position, pointing down at ‘half past five’. A bigger than life-size doll is clinging to the two crescent-shaped ends of the hands withik all the strength it has left. It is exposed to great danger and extreme stress. It makes a superhuman effort to save itself. Baren stages fear as a symbol of the kind of extreme situations that individuals find themselves in again and again. The choice for this location, however, means that the figure represents the community. The danger is less timeless – in fact, it is linked to time. By stopping the rhythm, Baren produces an additional irritating symbol whose effect is derived from this disruption of the perceived structures. Stopped clocks have always been connected with omens and prophesies.

[Werner Fenz, curator Bezugspunkte 38/88]

Locatie voor ECHO OF HYSTIRIA (langdurig incident). Uhrturm / klokketoren op Schlossberg, Graz.


POINTS OF REFERENCE 38/88. Steirischer Herbst. Graz, Oostenrijk (ECHO OF HISTYRIA)

We Wanna Lose Our Heads For Anything [In Time]. Chisenhale Gallery en Dance Space, London, GB

Theaterspektakel, Zürich, Zwitserland (toneelbeeld en performance voor ‘In Der Bar Jeder Vernunft’ by Rotta Theater: Wolfram Berger en Uli Sherer)

Dutch Posters. Stedelijk Museum, Amsterdam NL

ZOMERFESTIVAL, Amsterdam, NL (Poster Performances – door de hele stad aangebracht)

Expanded Theatre Festival. Poznan, Polen (Poster Performances- door de hele stad aangebracht)

ISLAND OF LOST SOULS. Studie voor glasschildering in stationshal, Graz, STEIRISCHER HERBST festival 1988. Het voorstel was om gedurende de gehele periode van de tentoonstelling POINTS OF REFERENCE 38/88 met assistenten aan deze opzet door te werken. Niet uitgevoerd. Geen toestemming gekregen van Oostenrijkse Spoorwegen.

Nena Dimitrijevic, City As Theatre Of Ideology [Catalogue Bezugspunkte 38/88]

Proposal for painting on glass.

Baren’s starting point was a proclamation (published in 1938, and found during research in the library of the University) that discussed the question whether or not Arian people and Jews should be permitted to marry. The location chosen was most suitable for the Island Of Lost Souls installation, especially to juxtapose the apparent similarity between both the statistics of the proclamation and the structures (present in the station) to guide departing and arriving passengers. The upper part of the painting on glass was to be carried out before the actual opening; during the exhibition, the work would have been continued on the lower part.

Peter Baren intended to blow up the scheme of the acceptable and forbidden marriages according to Nazi planners of ‘the pure race’, and transfer it onto a glass surface in the main hall of the train station, which had witnessed many deportations. Monstruous incisions in the body of society and history start with apparently minor interventions in the sphere of individual freedom. The Austrian railway company (Bundesbahn) refused to let Peter Baren paint the huge glass in the main hall.

Etant donnés. Peepshows door kunstenaars. 1988-1989. Geproduceerd door Franck Gribling.
De Volkskrant 24 october 1989.

There Is Screaming Within / There Is Screaming Without. Geluidwerk in houten krat, met vrachtnet en parachute. Foto’s: Paul Bradley

Deelname aan The Drop. Public sculpture project 1989-1988. Reizend door Groot-Britannië.
Samenstelling en productie: Paul Bradley.

Halifax, Dundee, Gateshead [Derry/ N-Ierland: afgelast vanwege politiek onzekere situatie en London: EDGE 88 Biennial – vanwege bezuinigingen uit het programma gehaald].

Met o.a.Stuart Brisley, Cornelia Parker, Alistair MacLennan, Tanya Kovats.

Boven: Hailfax. Links: Peter Baren / Rechts: Stuart Brisley. Onder: Dundee.

Alistair MacLennan’s crate with parachute.

HEARTH [HERE GATHERS NAMELESS ENERGY]. Mint tower – sound- and lightinstallation.. CENTURY 87 (Today’s art face to face with Amsterdam’s Past). Amsterdam juli – augustus 1987.

HAARD [HIER VERZAMELT ZICH NAAMLOZE ENERGIE]. Geluid- en lichtinstallatie [Munttoren] tijdens CENTURY 87 (Today’s art face to face with Amsterdam’s Past). Amsterdam, juli – augustus 1987. Foto’s: Jannes Linders [L]. Rineke Dijkstra [R]. Onder: geluid van burlend edelhert vanuit Munttoren.

Onder: avondsituatie met van binnenuit verlichte Munttoren en sissend geluid.

STATIONS OF NAMELESS ENERGY. De Fabriek, Eindhoven 1987. Foto’s: Peter Cox.

Century 87. Kunst van nu ontmoet Amsterdams verleden (Munttoren), NL (cat.)
KUNST OVER DE VLOER. Foto-Video-Installatie. Entrepotdok, Amsterdam, NL (cat.)
Peter Baren. STATIES. Galerie Tanya Rumpff, Haarlem, NL
Performance Festival. Stadsschouwburg, Heerlen, NL
De Fabriek, Eindhoven, NL (Stations Of Nameless Energy)
Pakhuis Stockholm, Dordrecht, NL (Dramatische Hoogtepunten van de 20e eeuw)

The National Review of Live Art. Midland Group, Nottingham, UK (met Erszi Hatvari)
Opening. De Appel, Amsterdam, NL (THE GIFT met Wolf Mense)
You Don’t Have To Watch Dynasty. Shaffy Theater, Amsterdam, NL (EINDSPEL ZONDER TITEL)
Peter Baren. INCIDENT. Het Kijkhuis, Den Haag. NL (met Erszi Hatvari en Wolf Mense)
Peter Baren. INCIDENT. Lokaal 01, Breda, NL (met Agneet Evenhuis en Wolf Mense)
AVE 86. Het Hooghuis and De Gele Rijder, Arnhem, NL (INCIDENT, en Erszi Hatvari)
ZôNES. Aorta, Amsterdam, NL
Maquettes/Scale models. De Fabriek, Eindhoven, NL.
Hortus Botanicus, Haren en CBK/Centrum Beeldende Kunst, Groningen [KINK FLORA met Marion Gadiot]

Video Festival. Charlottenborg Exhibition Hall, Copenhagen, Denmark (samenstelling: Aart van Barneveld/Time Based Arts, Amsterdam)
Perfo 3. Performance, Installations, Music. Lantaren/Venster, Rotterdam, NL met Wolf Mense (cat.)

AANWINSTEN. Museum Arnhem, Arnhem, NL
Het Apollohuis, Eindhoven, NL (Nocturne. ERVEN WIRRA WELTKLANG)
WERK VAN LEDEN. Time Based Arts, Amsterdam, NL (Nocturne)

Videoart in The Netherlands. De Vleeshal, Middelburg, NL [samenstelling: Aart van Barneveld / Time Based Arts, Amsterdam]
PANORAMA FAULHORN [WIRRA 7]. Belvedere Park Sonsbeek.1983. Foto’s: Irene Companjen

New China Reconstructs Domestic Kit. Shaffy Theater, Amsterdam, NL. With Truus Bronkhorst en Koos Dalstra
The Living Room. Group Exhibition. The Living Room, Amsterdam, NL (cat.)
Studium Generale. Akademie voor Kunst en Vormgeving St. Joost. Den Bosch, NL (WIRRA 4 *)
Stichting voor kunstENNU, Tilburg, NL (WIRRA 3)*
Stichting voor kunstENNU, Tilburg, NL (WIRRA 8)*
Artists initiatives in The Netherlands. De Moriaan, Den Bosch, NL (WIRRA 2 * cat.)
Dertig Man Kunst. W139, Amsterdam, NL (WIRRA 1*)

OPENING. De Appel, Amsterdam, 1986 NL. THE GIFT [WEST KUNST vs DUTCH GRAVITY] met Wolf Mense. Foto’s: Oscar van Alphen

Festival De Stad. Belvédère, Sonsbeek, Arnhem NL. Verschillende akties in en op de uitkijktoren.

PERFOTIJD PERFORMANCEFESTIVAL Lantaren/ Venster, Rotterdam. April 1983.

PANORAMA FAULHORN [MUSEUM OF MANKIND]. Performance Peter Baren / Koos Dalstra.
PERFOTIJD performancefestival. Lantaren / Venster, Rotterdam, NL 1983. Foto: Hajo Piebenga.

NAT III. Aorta, Amsterdam. Foto: Rabotnik TV

China Reconstructs New Domestic Kit. Shaffy Theater, Amsterdam, NL 1982. Foto: Bob van Dantzig.
ism Truus Bronkhorst en Koos Dalstra.


WIRRA# 8. Peter Baren / Koos Dalstra. Stichting voor kunstENNU, Tilburg. November 1982

The visitors are waiting in ENNU’s long corridor. Suddenly, a young man appears, wearing a ski suit, with skis slung over his shoulder. It is writer/poet Koos Dalstra. With this beginning, he sets the course the performance is going to take. After a series of movements, (which look like a warming up) he opens the door to the performance space. After carefully looking around, my eyes light upon a track of artificial snow and a track of green soap. Other details include: islands with (for instance) uniform jackets, a pole, uncultivated coconuts, a light box with a factory complex, and large wall paintings. Wind directions have been set out on the walls in the corners. Lines of flames have been drawn above the central heating, but these could just as well be waves. On the balcony I see a person painted in silhouette, who is waving to the visitors below. Pleasant music (Rip Rig & Panic) is drifting up from a hatch in the floor and is experienced by vibrations through the soles of my feet. When Dalstra’s skis are buckled on, I see visual artist Peter Baren lying curled up. He, too, begins to move. He has a painted plaster eagle with him. They follow their own routes: Baren moving barefoot across the artificial snow, Dalstra on skis across the green soap. Dalstra is moving as if he is making a fast descent. Baren is teaching the eagle to fly, making signals, banging on coconuts. The two men have no contact with each other. They are in the same space but are working at different levels of consciousness.

[Albert van der Weide, GBK Magazine nr. 43, January 1983]

WIRRA #3. Peter Baren / Koos Dalstra. Stichting voor kunstENNU, Tilburg, mei 1982

In a former chapel two major actions were performed. Over a period of six evenings, one figure depicted a wall-painting showing two hands holding a rosary, while the other was holding a lecture in a water basin, reading from plasticised text sheets floating around on the water. The following evenings, with the use of recorded material from the previous performance, spoken phrases were dubbed and re-used, in order to play with delayed synchronicity.

Fragment from the lecture entitled ‘Golf Praxis’ (Wave Praxis): “By means of this model we are able to show how a wave of agitation is built up, for instance. The vertical axis conveys the intensity of the mood. The latter varies from a desire for safety, the positive pole, to a fear of danger, the negative pole. With a maximum of safety, the fear of danger is minimal, with a minimum of safety, the desire for safety is maximal (…).” Other minor actions consisted of the actors blowing canned spray of pure air into the space (Keep Your Vacuums Clean). In order to take care of the lecturer, the temperature in the water basin being quite low, water was boiled in the space and every now and then a kettleful of hot water was poured in, close to the figure. Towards the end, the smell of burnt milk gave the performance a sinister twist. [PB]




WIRRA #2/Het Terugkerende Type. Peter Baren/ Koos Dalstra. Kunstenaarsinitiatieven in Nederland. Documentaire tentoonstelling. De Moriaan, Den Bosch. Maart 1982. Foto’s: Peter Cox.

WIRRA serie. 1983 – 1982. ism Koos Dalstra/ Dalstar. [WIRRA #1/PARI MUTUEL]
30 MAN KUNST. Warmoesstraat 139, Amsterdam. Januari 1982. Foto’s: Peer Veneman

Grondruimte #2 [LOST AND FOUND]. De Fabriek, Eindhoven, NL

The Living Room Or Is The Approach Scarcely More Important Than One Of The Objects?.
The Living Room, Amsterdam, NL. Februari 1981. Foto’s: Richard Wedding.


OOSTERSE MANTRA. Galerie Alto, Rotterdam, NL. Foto’s: Peer Veneman.

WESTERSE MANTRA. Willem II Fabriek, Den Bosch, NL 1980. Foto: Robert Glaubit.

Galerie Alto, Rotterdam, NL (Eastern Mantra)
The Living Room, Amsterdam, NL (The Living Room Or Is The Approach Scarcely More Important Than One Of The Objects?)
Peperstraat 37, Groningen, NL (Groundroom#2)

Frame Experiment. Willem II fabriek, Den Bosch, NL (Western Mantra)
FEBRUARY 80. Galerie VAN, Haarlem, NL (with Jolanda Prinsen)
The New-Size 1980 Thunder. Amsterdams Centrum voor Actuele kunst (ACA) HAL 1, Amsterdam, NL

PERSOONSHELFTEN. Ways Of Seeing, Amsterdam
PERSOONSHELFTEN. Machinefabriek Cooper, Haarlem, NL (ism Galerie VAN)
Galerie VAN, Haarlem, NL (ATTESE)

* with Koos Dalstra, criminologist and poet

(geselecteerde) Boeken, Catalogi

2020                                                                                                                                                       Joseph Sassoon Semah. On Friendship / [Collateral Damage] III. The Third GaLUT: Baghdad Jerusalem Amsterdam. Uitgever: Metropool International Art Projects                 2019
Helena Markusová. TRANS ART’30. A Short Trip into History. Ernest Zmetak Gallery, Nove Zamky
TheParallelShow [#1-10]. Jap Sam Books
Samuel Wahl. PREAVIS DE DESORDRE URBAIN. La Performance l’épreuve d’une Ville [2007-2017]. Editions Deuxième Epoque, Marseille
Definitely unfinished. Raoul Teulings 1959-2010. Circa…dit, Arnhem
PETER BAREN. Blind Dates With The History Of Mankind. Performances 1980-2013. Monografie. Publisher: De Zwaluw, The Hague
Blind Dates, Orphaned Whisperings And Other Unknown Pleasures. 2004-2014. CD-Rom. Artist edition
Mike Phearson. MICKERY. An imperfect archaeology. Amsterdam University Press
Katarina Mullerova. Galéria Cypriána Majerníka 1957-2000. Bratislava
Ines den Rooijen. Peter Baren. Omgekeerde zakkenroller. De Fabriek 30 Jaar. EEN BOEK OM MEE TE SLAAN. Eindhoven
DE COLLECTIE. 25 Jaar Kunstprojecten in Zorginstellingen 1985-2009. SKOR. Stichting Kunst en Openbare Ruimte, Amsterdam
Transart Communication. Performance & Multimedia Art. Studio erté 1987-2007. Kalligram, Bratislava/Pozsony 2007
Bewaerschole Jaarboek 2007. Burgh-Haamstede
Marga van Mechelen. Review. de Appel. performances-installations-video-projects 1975-1983, Amsterdam
Anne Stone. Peter BAREN, Anthony SCHRAG. LIVE 05 Performances. Vancouver
Heike Roms, Julie Bacon, Jimmy Durham. TRACE 00-05. The first five years, Cardiff
Sergio Edelsztein. BLURRR 5. Tel Aviv, catalogus/ CD-rom
Venetian Pearls. CD-rom. Kunstenaarsuitgave
Collected Pitfalls 2. CD-rom. Kunstenaarsuitgave
I NEED YOU. Centre PasquArt, Bienne/ Kunsthaus, Biel (cat.)
Museum Of Mankind (1983) and Abbey Road (2000). DVD (with Koos Dalstra) Collected Pitfalls 1. CD-rom. Kunstenaarsuitgave
TransArt Communication festival. Nové Zámky, CD-rom
Paul Groot. Spirits In The Material World. Lust, Desire And Other Terminal Bodies. Artist edition (Bratislava installation)
TransArt Communication festival. Nové Zámky, CD-rom
Renske de Jong. Peter Baren. Vanity Plates (8 Stations). Het Amsterdams Beeldenboek. 4 centuries of public sculptures. Amsterdam Fund for the Arts
Peter Baren. Sulcken Vreemden Geuren (Kwijt). cat. Stichting Collage, Kortenhoef
Carpay & Capaan, Harry Heyink. (ed.) Midden in het leven staan wij in de dood. cat. Arti et Amicitiae, Amsterdam
Antoinette Andriese. Peter Baren. Caressing The Dike. cat. DIJKWACHT. Art and poetry on the borders of Flevoland
Mekkink, Pingen, van Strien (ed.), Kunst van Nu. Encyclopedic survey since 1970. Leiden
Bart van de Ven (ed.), Colin Huizing, Ron Miltenburg. Cat. The Living Room. Eine Amsterdamer Galerie und die achtziger Jahre, Neuenhaus
Brigitte van de Sande (ed.) in: Net zo prikkelend, verwonderingwekkend en weerbarstig als het stadse leven zelf. 1994-1996. Werkgroep Kunst Oude Stad (KOS). Amsterdam Fund for the Arts                                                                                                                                                  1994
Christine Resch. Kunst als Skandal. Der Steirischer Herbst und die öffentliche Eregung. Vienna
Geurt Imanse. Soap Bubbles. Zeepbellen. Artist edition. Care Centre De Open Hof. Commisioned by the City of Amsterdam. Watergraafsmeer district
Andreas Vowinckel. In Kontexten denken. Peter Baren. cat: Kontexte, Karlsruhe
James E. Young. Austria’s Ambivalant Memory. The Texture of Memory. Holocaust Memorials and Meanings. New Haven and London
Willemijn Stokvis, Kitty Zijlmans (ed.). VRIJ SPEL. Art in The Netherlands 1970-1990. Amsterdam
Haro Plantenga (ed.) cat. AMSTERDAM KOOPT KUNST. Gemeentelijke Kunst Aankopen 1992, Amsterdam
IJsbrand van Veelen. Peter Baren. cat. HILLS+MILLS. Amsterdam/ Bratislava
IJsbrand van Veelen. The Living Room, Amsterdam. Für die Galerie/ Dealing with Art, München
Peter Baren. Monument voor de Nieuwe Zaken. Cat. Herdgangen, De Beeldunie, Tilburg
Tineke Reijnders. Vreemde fabels op bekend terrein. cat. En Passant, Off Holland media project, Amsterdam
Jean Leering, Albert van der Weide. Kunst en Openbaarheid. cat. Art and public space, Enschede
Gepke Bouma. Peter Baren: Overhoop. Cat. Werk op papier, Zwolle
Rob Perrée. Assumptions flouted by imagination. Kunstenaars uitgave t.g.v. Franklin Furnace performance in New York
Leontine Coelewij, Paul Groot. Given, cat. Etant donnés. Peepshows by artists. Amsterdam
Pierre Audi. Gedachten en impressies rond de Prix de Rome voor Beeldende Kunst & Theater, cat. Prix de Rome 1989, Amsterdam
Geurt Imanse. Peter Baren. Lust(Garten für verlorene Seelen) oder The Mind Itself Attacks, cat. Inszenierte Fotografie. Neuss
Klaus Honnef. Die Inszenierung des Wirklichen. Gedanken, Einwürfe und Thesen zur Ausstellung Inszenierte Fotografie, cat. Inszenierte Fotografie, Neuss
Franck Gribling. cat. Beyond Performance, Amsterdam
Louwrien Wijers. De PERFORMANCE voorbij. Het Financieele Dagblad, 21 en 23 januari
Harm Lux, M. Vançi Stirnemann. cat. Performances 1-2-3 November, Zurich
Gabi Czöppan. Bezugspunkte 38/88. Steirischer Herbst 1988, Kunstforum 98, Jan/Feb
Nina Dimitrijejvic. Die stadt als Theater der Ideologie, cat. Bezugspunkte 38/88, Graz
13/14 and 15.11.87. Peter Baren. Boek IV. januari 1984-december 1987. De Fabriek, Eindhoven
Sjarel Ex, Nicolette Gast, Els Hoek (ed.), cat. Century 87. Today’s art face to face with Amsterdam’s Past.
Peter Baren. Century’87 flexidisc. Metropolis M, September nummer
Peter Baren. STATIES, cat. Kunst Over De Vloer. Foto-Video-Installaties. Entrepôtdok, Amsterdam
Action and Image: Performance art documentation. LOCUS+/Projects UK, Newcastle
Gemeentelijke Kunst Aankopen II. Amsterdam
NOCTURNE. ERVEN WIRRA WELTKLANG. Het Apollohuis, Eindhoven (gesigneerde kunstenaars uitgave)
ERVEN WIRRA WELTKLANG. 0.0 SHEETS. Edition Nr. 8. Dordrecht
Paul Evers. PETER BAREN/KOOS DALSTRA. Museum Of Mankind. cat. PERFOTIJD, Rotterdamse Kunst Stichting
Pieter Heynen. The Living Room, in: cat. The Living Room, Groupshow. Amsterdam
JA! Uitgever: Rob Scholte, Amsterdam

(geselecteerde) Artikelen, Teksten

PLEXUS ROUGE, MORT ET NAISSANCE D’UN EVENEMENT. La Provence newspaper, Marseille. 11 September
SEEALLTHIS magazine. Winternummer #8 2017/2018. Paginagrote afbeelding van ARE WE BLIND PEOPLE? PEACE WILL COME TO ME! Rondgangen tijdens ART ROTTERDAM 2017. ism FLAM/ Forum of Live Art amsterdaM
Moos van den Broek. Arti et Amicitiae en de ontwikkelingen in de white box. – 5 juni                                                                                                                        Jan Pieter Ekker. Na 500 jaar heeft Luther antwoord van de kunsten. Het Parool, 23 juni
Paola van de Velde. Moderne kijk op Luther. De Telegraaf, 18 juli
Paola van de Velde. Symbool voor de dialoog. Haarlems Dagblad 27 juli
Samuel Wahl. Droit d’asile pour la performance a Marseille. Archipels #1
Jennie Klein. PETER BAREN. Blind Dates With The History Of Mankind. Blogtext for RAPID PULSE#5 performancefestival. DFBRL8R Gallery, Chicago
Debbie Broekers. Alleskunner Michael Gibbs. Metropolis M. Nr. 5
Domeniek Ruyters. Het festival voor onopgemerkte kunst. Interview met Frans van Lent (a.o. The Parallel Show). Metropolis January
Marga van Mechelen. Silhouettes Like Shivering Ancient Feelings. In: PETER BAREN. Blind Dates With The History Of Mankind. Performances 1980-2013. The Hague
Bart Rutten. Coming Back to Mist And One’s Own Presence. Interview with Peter Baren. In: PETER BAREN. Blind Dates With The History Of Mankind. Performances 1980-2013. The Hague
Alex de Vries. Performance As Visual Grammar. In: PETER BAREN. Blind Dates With The History Of Mankind. Performances 1980-2013. The Hague
Koos Dalstra. ON. Performance projects with PB. PETER BAREN. Blind Dates With The History Of Mankind. Performances 1980-2013. The Hague
Gerrit Willems, Han Schuil. STOP MAKING SENSE. Nederlandse schilderkunst uit de jaren 80. The Living Room en de jaren tachtig. Een gesprek met Bart van de Ven. Dordrecht.
Ines den Rooijen. Peter Baren. Reverse pickpocket. De Fabriek 30 Years. A book to hit with. Eindhoven
The manifold (after) lives of performance (#2). Two-day symposium, Frascati WG theater, Amsterdam (produced by de Appel arts centre, Amsterdam)
Roos van de Lint. What’s your angle boy? 14 and 15 November. Symposium Ann Demeester, Gerbrand Korevaar. The manifold (after) lives of performance (#1).        Co-production of de Appel/ theater Frascati, Amsterdam with PLAYGROUND/STUK Kunstencentrum, Leuven )
Rob Perree. A committed search for limits. The ARK series by Peter BAREN. Essay. Amsterdam/ New York
Tineke Reijnders. Zingend en drummend de wereld veranderen. Metropolis M, No 2. April/May
Lucette ter Borg. Lokaal 01 geeft feestje voor ingewijden. NRC Handelsblad, 27 July
Ziev Lancher. A performance into the market. Yediot Achronot. Tel Aviv. 30 November
Marja Bosma. WEG met de steriele kultuurkathedralen! Peter L. M. Giele. Verzamelde Werken
Merel Bem. Het grote gebaar ontbreekt op station. De Volkskrant, 20 February
Patricia Schellekens. Under Construction. Indrukwekkende Installaties. Zone 3, April issue
Mirjam Beerman. Angel.Dust. Amsterdam Fund for the Arts
Ernst Jan Roozendaal. Monniken zonder missie. Provinciale Courant Zeeland, 2 Sep.
Rogier Schumacher. Landschappen op de salontafel. Het Parool, 1 April
Katinka Fischer. Land Art im geschlossenen Raum. Wiesbadener Tagesblatt, 7 March         1997
Michal Murin. PeepShow. You’re My Baby, You’re My Favourite Waste Of Time. Kankán magazine Nr. 2, February
Emil Tiger. Peter Baren exhibits in Bratislava for the second time. SME, 6 May
Juraj Mojziš. On the Things of Man. Pravda, 6 May
L’udo Petransky. Budapest images from the memory of Peter Baren. SME, 31 October
Simone van der Burg. De natuur getart in jubilerend Flevoland. NRC Handelsblad, 29 July
Jolan Douwes. Blauwe handen strelen de dijk. Trouw, 7 August
Mark Peeters. Geurende beelden voor blinden en zienden. NRC Handelsblad. 9 October
BLVD. Eigentijds Rouwen. March issue.
Max Bruinsma. The Living Room. Eine Amsterdamer Galerie und die Achtziger Jahre. Kunstverein Grafschaft Bentheim, Neuenhaus. 1 June – 7 August 1995. Metropolis M, Nr. 4
Hans den Hartog Jager. Mona Lisa met voile. De mythe van de Amsterdamse galerie The Living Room. NRC Handelsblad, 30 June
Janneke Wesseling. Kunstenaars tonen engagement op nieuw TripleX festival in A’dam. NRC Handelsblad, 28 JulyWilma Süto. Huiveren over wat de mens vermag, De Volkskrant, 29 July
Pietje Tegenbosch. Het opgeheven vingertje mist zijn doel op TripleX. Het Parool,               8 August
Ada Krnacova-Gutleber. HILLS&MILLS. PROFIL. Nr. 5. Bratislava. Periodical art magazine.
Willem Ellenbroek. Allesomvattende muurschildering in Museum Fodor. De Volkskrant, 21 December
Aad Kruijning. Huiskamer bakermat voor toonaangevende kunst. Expositie bij tienjarig bestaan The Living Room. De Telegraaf, 2 February
Lucas Ligtenberg. Pompoen en asperges als smaakmakers nieuwe roman. NRC Handelsblad, 6 September
N.N. Palen met een boodschap. De Telegraaf, 27 June
Rob Perree. Performance in de jaren tachtig. Peter Baren of hoe de verbeelding werkelijkheid wordt. Kunstbeeld nr. 13/3, April
Rob Smolders. Beyond Performance. Metropolis M Nr.2
Adelei van der velden. Wat rest is een concept. Van dada tot performance en daarna.            De Groene Amsterdammer, 8 februari
Mark Peeters. De voyeur wordt te kijk gezet in kunstpeepshow op de Wallen.                      De Volkskrant, 24 October
Frank-Alexander Hettig. Beyond Performance. Kunstforum 100, April/May
Werner Fenz. The Monument is invisible, the Sign is visible. October 48, Spring 1989
Peter McRae. Peter Baren. Exploitation-Performances. Performance Magazine Nr. 44/45, Nov/Feb
Leonie Greefkens. Echo Of Histyria, Insel Der Verlorenen Seelen. Beeld en werkelijkheid. Peristiel editie, Amsterdam, September
Walter Müller. Ein Herbst der Verwirrungen, Neue Zeitung, 16 October
Jan Tabor. Steirischer Herbst: volkserhebung in Histyria. Süddeutsche Zeitung,  5 Nov.
Bert Jansen. About the exploitations of Peter Baren. Amsterdam
Amsterdam ’87. Annual edition. Museum Fodor.
Wim A. Hayes. Century ’87. Kunst van nu ontmoet Amsterdams verleden. Artefactum     Nr. 45, Nov/Jan
Martijn van Nieuwenhuyzen. Amsterdam, Century 87. Flash Art, Nov/Dec. issue
Dennis Cooper. Art on the Amstel. Art in America, Oktober issue
Paul Depondt. Op de Munttoren loeit een bronstige eland. De Volkskrant, 7 August      1986
Alex de Vries. (Untitled) ENDGAME. Interview, Shaffy Theater bulletin, Amsterdam
Portrait of Wubbo Ockels, Kink Flora and Incident. Artist’s pages. Kremlin Mole Nr. 3, Holiday Issue, Amsterdam
PERFO 3. Een soort schoonheid. Speciale uitgave in Vinyl magazine Nr. 5, Mei
Anneke Miedema. Confrontatie van twee werelden in CBK. Marion Gadiot en Peter Baren, Nieuwsblad van het Noorden, 27 December
Pascal Bussy. Amsterdam Connection. in: l’Art Vivant, mensuel-Octobre, Paris
Nicolette Gast. De erven WIRRA WELTKLANG presenteren zich. Metropolis M, nr. 5/1
Rob Perrée. Videokunst in Nederland III. Onverstoorbaar op weg naar Nederland 3. Kunstbeeld, september (serie artikelen tussen juni en september)
Ton Verbeeten. Actiekunst op de Belvédère. De Nieuwe Krant, 20 May
G. Abma. Emoties en vrouwe Justitia op een middag in maart. Friesch Dagblad, 18 March
Albert van der Weide. Winter, Tilburg, Baren en Dalstra. GBK magazine, nr. 41, Januari
Jan Baart. China reconstructs new domestic kit. Stuk over weduwe Mao moeilijk stripverhaal. Haarlems Dagblad, 8 September
Marcel-Armand van Nieuwpoort. Verveling als vorm van theatervernieuwing, NRC Handelsblad, 7 September
Koos Dalstra. Smaak en Macht/Maak en Smacht. Peter Baren, Frank van den Broeck en Peer Veneman. in: Metropolis M, nr. 3/5
Tineke Reijnders. De ambitie van een woonkamer in de Dapperbuurt. De Groene Amsterdammer, 11 Augustus
Hidde van der Veen. Wetenschap in kunstvorm. Ad Valvas, 8 October
Koos Dalstra. Peter Baren. Metropolis M, nr. 3/2
Jac Heijer. Stuart Sherman’s Hamlet als celebraal spel met objecten. Holland Festivalproductie van Mickery, NRC Handelsblad, 3 Juni
Hezy Leskly. A portrait of the artist as a young man, and vice versa. ARTZIEN nr. 6/7, April/Mei

Project/Reis/Stipendia/Beurzen, Prijzen

Consulaat-Generaal der Nederlanden, Chongqing (2020 performance UP-ON festival #8, Chengdu)
Nederlandse Ambassade, Parijs (performances voor Preavis de Desordre Urbain#13/RED PLEXUS, Marseille                                                                                                                           2017
Nederlandse Ambassade, London [Bbeyond symposium. University of Ulster, Belfast]
Nederlandse Ambassade, Parijs (performances voor Preavis de Desordre Urbain#10, Marseille)
Netherland-America Foundation Inc. Chicago (Rapid Pulse #5 performance festival, Chicago)
Mondriaan Fonds (FLAM stipendium voor performances tijdens 12th VERBO, Sao Paulo en MIP3, Belo Horizonte)
Nederlandse Ambassade, Praag (performance 11. MALAMUT festival, Ostrava)
Mondriaan Fonds
Prins Bernhard Cultuur Fonds Noord-Holland
Hartenfonds (Publicatie budget voor BLIND DATES WITH THE HISTORY OF MANKIND)
Mondriaan Fonds (Basisstipendium)
Consulaat-Generaal der Nederlanden, Guangzhou (performance Guangzhou Live 010) 2009
Nederlandse Ambassade, Warschau (performance 11. NAVINKI, Minsk)
Fonds BKVB, Amsterdam (Basisstipendium)
Nederlandse Ambassade, Bangkok (performance ASIATOPIA 10)
Consulaat-Generaal der Nederlanden, Istanbul (performance Visibility Project 4)
Nederlandse Ambassade, Parijs (performance 2. Preavis de Desordre Urbain, Marseille)
Nederlandse Ambassade, London (performance Tramway, Glasgow 2007)
Amsterdams Fonds voor de Kunst. Opdracht voor het produceren van ARK (Unknown Pleasures) nachtelijke projecties vanuit DTN, hoek Prinsengracht/Leidsestraat, Amsterdam, april- juli 2007
Nederlandse Ambassade, Ottawa (performance LIVE 2005. Helen Pitt Gallery, Vancouver)
Mondriaan Stichting (performance trace: Cardiff, 2005)
Mondriaan Stichting en Fonds BKVK (performance CURRENCY 2004, New York)
Fonds BKVB (Basisstipendium)
Amsterdams Fonds voor de Kunst. (installatie van performance stills- station Sloterdijk)
Provincie Zeeland en Venetië. Performance- en video project, in samenwerking met Koos Dalstra
Fonds BKVB (Basisstipendium)
Mondriaan Stichting en Nederlandse Ambassade, Bratislava. (installatie Palffyho paleis/stedelijk museum)
Nederlandse Ambassade, Budapest (performance Mücsarnok, Palace of Exhibitions)
Nederlandse Ambassade, Rome (performance Cagliari, Sardinië) in samenwerking met Marcelle van Bemmel
Ministerie van WVC (performance Kunstraum, Düsseldorf)
Provincie Flevoland (performance Lelystad)
Fonds BKVB (Basisstipendium)
Amsterdams Fonds voor de Kunst (installatie SlotervaartZiekenhuis)
Ministerie van WVC (installatie Dom Kultury, Bratislava)
Mondriaan Stichting,
Prins Berhard Cultuurfonds,
Nederlandse Ambassade, Washington
en Franklin Furnace Performance Art Fund
(performances Franklin Furnace, New York- featuring Seymour Likely)
Gemeente Amsterdam (installatie Mr. Visserplein)
PRIX DE ROME Beeldende Kunst&Theater (4x ex-aequo Basisprijs)
1986, 1985, 1984, 1983, 1982 Productiebudget. Gemeente Amsterdam


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