2019-2010: images, descriptive texts and scores (a selection)

THE PACK OF TING

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

89>97>01>13>20>27> [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:


CONNECTION > EUROPE. Santiago, Chile [produced by PERFOLINK]
la-bas. Experimental live art. Helsinki, Finland                                                                BLAUVERSCHIEBUNG NO11. MdbK / Museum der bildenden Künste, Leipzig, Germany
[co-operation and initiated by Galerie KUB] 

7th UP-ON. International Live Art Festival. Chengdu, China

UPDATE. New Members exhibition / Nieuwe Leden tentoonstelling                                     Arti et Amicitiae, Amsterdam, The Netherlands                                                                                                  On show is a selection of handscripted scores [first time on display from the period 2007 – 2019]        29 June – 28 July.                                                                                          

Below a few examples.





Realised performances and other presentations:

2019

PROJECT ID. In-Between Identities.
Different locations. The Hague, The Netherlands
A co-production between P.S. PerformanceSite and VestAndPage with Marilyn Arsem
25 June / 7 July

Sunday, 7 July Barth Kapel 7:00 PM  LIVE performance BLIND DATES WITH THE HISTORY OF MANKIND [ No Requiem] with IMKE ZEINSTRA 

More on the participating artists:     http://www.performancesite.nl/artists-project-id/

Evening lectures and artist talks  Stichting Ruimtevaart Den Haag                                                      On Sunday, June 30th  7:00-10:00 pm We cordially invite you an interview with guest speaker Peter Baren, artist and Sanne van Driel, PhD student, Tilburg University Department of Culture Studies. To conclude the evening, artist Andrea Pagnes (VestAndPage) will give a lecture on social progress, gender and identity within Project ID – In Between Identities

SILHOUETTES LIKE SHIVERING ANCIENT FEELINGS. The presentation by PETER BAREN was larded with fleeting examples from his performance practice. They are witnesses of ever changing identities in between social actions and behavior outlet. [topics: origin – change- identity]. Image: Kirsten Heshusius.

DATES & VENUES

Evening lectures and artist talks at Stichting Ruimtevaart: Friday, June 28th and Sunday, June 30th, 2019,    7:00 – 10:00 PM
Residency Class tutored by VestAndPage & Marilyn Arsem: Tuesday, June 25th – Wednesday, July 3rd, 2019
Study Movie Room at Stichting Ruimtevaart: Friday July 5th, 12:00 – 6:00 PM – Sunday, July 7th, 2019,    12:00 AM – 11:30 PM [produced by LADA, London and VestAndPage]
Collective Performance Opera at Maakhaven: Friday, July 5th 2019, 7:30 – 11:00 PM
Live performance program at De Helena and De Barthkapel: Saturday, July 6  – Sunday, 7 July 2019,         7:00 – 11:30 PM
Fractured Bodies. TEMPTING FAILURE#2018. Biennial for International Performance Art and Noise. London GB [Braithwaite Hall, Croydon]. BLIND DATES WITH THE HISTORY OF MANKIND [Rage And Time]. Performance: Peter Baren, Anna Bougos, Lise Boucon, Gemma Jones, Rob Hesp. Image: Julia Bauer.

ABOUT PROJECT ID  IN-BETWEEN IDENTITIES

Stuart Hall outlines in the essay “Cultural Identity and Diaspora” (1990) that modern identities are no longer fixed but emerge as “unstable points of identification or suture, which are made within the discourses of history and culture.” In his words, life stories are not determined exclusively by class, race, gender, and religion, but instead there is a mixed ancestry; an identification with diversity in countries, traditions, values and beliefs. While the raised global interactions are causing a re-evaluation of traditions and lifestyles, an awareness of individual and collective change springs from the urgency to find new modes of shaping our identities and life stories. Performativity as a language calls for continuous transformation and functions as a form of social action, while contemporary performance art as a logical art form shapes, communicates, confirms and honours the value of differing life stories in multiple contexts.
More detailed information on www.performancesite.nl

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2018

ART ACTION 1998 – 2018

Quebec, Canada 2018
RiAP/ Rencontre Internationale d’Art Performance is organized by LE LIEU.
September- December: Exhibitions, conferences, publication ART ACTION 1998-2018.
Continents presented are: Canada, Americas and Africa, Europe, Asia and Oceania.

11 November – section: EUROPE.                                                                                                                     Ieke Trinks produced a lecture on PERFORMANCE ART AND ART[ISTS] INITIATIVES IN THE NETHERLANDS. A couple of PB performances were shown in her presentation.
During this EUROPE exhibition, a survey of documentation: videos, artifacts etc. by a great variety of artists is exhibited in Le Lieu. PB’s monography PERFORMANCES 1980 – 2013 / 2007 and 2017 video plus photo material is on display.
A text with the same title, written by Trinks, will be featuring in the new publication that will be released later this year. It is the follow-up of ART ACTION 1958-1998.

 

 

TAC#30. Transart Communication festival. Celebrational edition.                         Nové Zámky, Slovakia.
Different locations across the city.                                                                                              Date: 6 – 9 September

TAC#30. 1988-2018. The exhibition. Ernest Zmetak gallery. Nové Zámky, Slovakia. Including selected PB photos         and videos in documentary exhibition: PROGRESS PROGRESS [1997  Nové Zámky / Budapest- below] and                     BEGGARS BANQUET / DISCOVER HEAVEN [2002 Nové Zámky]

catalogue:  https://issuu.com/rokkojuhasz/docs/transart30-exh.vat.2018                          [page 55 and 43]

   a.o. Adina Bar_on, Andre Stitt, Roddy Hunter, Esther Ferrer, Skip Arnold, Boris Nieslony, Roi Vaara, Jan Swidzinski, Michal Murin, Elvira Santamaria, Ben Patterson, Artur Tajber

BLIND DATES WITH THE HISTORY OF MANKIND [THE WEIGHT OF LOVE]
Nové Zámky, Slovakia 2018

Whistling MISA LUPA [Lone Wolf] and alternate between whistling that melody and increasingly louder and louder: AJ JA TA MILUJEM! [I Love You Too!]
Performance: Peter Baren and Mads Floor Andersen, Sebastian Bechinger, Rokko Juhasz,              Sara Lanner
Duration: 22 minutes
Date: 9 September
Location: Csemadok [Hungarian Cultural Center]
Images: Ondrej Berta, Lehel Toth

Making eye contact and smile towards every person present

                                 Taking shoes off


Lip balsam by Cellcosmet


Lots of perfume by Azzaro: Wanted By Night


Stones from the region


People’s participation with fifth stone


Whistling MISA LUPA [Lone Wolf] and alternate  between whistling that melody                               and increasingly louder and louder:  AJ JA TA MILUJEM! [I Love You Too!]


Leaving the despair behind…

9-22 July
FRACTURED BODIES. TEMPTING FAILURE#18.
Biennial of International Performance Art and Noise.
Different locations around Croydon.
London UK 2018

Performed by: Peter BAREN, Anna BOGOS, Lise BOUCON, Gemma JONES, Rob HESP
Date: 21 July
Location: Braithwaite Hall
Images: Julia Bauer
https://www.temptingfailure.com/events

——————————————————————————————————–

TheParallelShow [#1-10]
Rotterdam, NL 2018

Book presentation and spoken-word performance
Date: 22 april
Performance: Frans van Lent, Peter Baren, Ieke Kastelein, Ieke Trinks
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 Lent within the framework of
Unnoticed Art – TheParallelShow.com

PB contribution:     [Different speakers across the room 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

BLIND DATES WITH THE HISTORY OF MANKIND                                [HOFFNUNG, EXIL UND TOT]
Date: 2 December
Performance: Christopher Utpadel, Peter Baren
Location: Galerie KUB
Images: Christian Liefke

 


Floortexting HOFFNUNG mirrorwise

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…

———————————————————————————————————————-

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 13 July, 22 June [during the exhibition Journey In Time/500 years Maarten Luther]. Other partners and presentations in: 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, 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
Joseph Semah reading his texts
Below: PB reading open letter to Beatrix Ruf, director Stedelijk Museum, by lawyer                                                                      Bob Vink and her reply. Other reflections are read aloud on Malevich, Newman,                                                                  Duchamp and Mondriaan
Repaint the work of Niele Toroni [previously positioned above the entrance on the left] and cover it with Black Square  by Kazimir Malevich

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

Performances in project by Joseph Semah
Date: 22 June and 13 July [during exhibition 500 years Maarten Luther / Journey In Time]
Location: De Nieuwe Kerk
Other partners: Stedelijk Museum [20-23 October], Joods Historisch Museum, Goethe Instituut Photography: Ilya Rabinovich.

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

FLAM #7. Forum of Live Art. A Week of Performance Art.

Arti et Amicitiae and Theater Frascati
Date: 1 June [Arti et Amicitiae]
Performance:                                                                                                                                                        Aurelien Lepetit, Peter Baren, Fazle Shairmahomed, Levi de Kleer, Franziska Menge
Location: Arti et Amicitiae
Duration: 40 minutes
Photography: David Cenzer, Renata Daguerre

Peter Baren (The Netherlands) is a visual artist who has been working internationally
since the late 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.
This is conveyed in his art through the use of concept of ‘otherness’ and ancient cultures.
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 and cultural circumstances.
-FLAM 2017-
below: Amsterdam score

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

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

GB

ML

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


OR

OR

OR

OR

OR

BLIND DATE WITH MICHAEL GIBBS  (SECRET IT IS)Amsterdam, The Netherlands 2016

LET IT KEEP SECRETS (project around the early work of Michael Gibbs 1949-2009)
Other institutions involved: Stedelijk Museum, de Appel arts centre, Soledad Senlle Art Foundation, Rietveld Academie, Boekie Woekie, Michael Gibbs studio, WG Kunst.
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 Heiningen
Editing: Eva Gongrijp

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

[MICHAEL GIBB’s VOICE:] SECRET IT IS

 

STATIONS OF NAMELESS ENERGY (1987)                                                      Amsterdam 2016

Audio recording of  1987 performance by Peter Baren at Rijksacademie archive, Amsterdam (2016) for Performance Monologue series

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.

Performance Monologues

 

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

SAME DIFFERENCE: Equinox to Equinox.
(1 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/ Weiblick Films

20160928_22064020160928_22020420160920_17391820160923_13083420160923_13041720160923_13031520160923_13023320160923_13183020160923_13185220160924_19342220160923_13012420160923_13035420160920_165321

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, 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-perrin2016-marseille-tout-doit-disparaitre-esplanade-j4-2

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, Sao Paulo
Photography: Edouard Fraipont

Several passages in the text below are 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!” Titlesong by Patti Smith
(4) “THERE IS A GARDEN AT THE BOTTOM!” Songline by The Associates
SCORE:

peter_baren_verbo-3edouardfraipont-28072016peter_baren_verbo-6edouardfraipont-28072016peter_baren_verbo-8edouardfraipont-28072016peter_baren_verbo-11edouardfraipont-28072016

KEEP YOUR VACUUMS CLEAN!

peter_baren_verbo-12edouardfraipont-28072016peter_baren_verbo-13edouardfraipont-28072016peter_baren_verbo-18edouardfraipont-28072016peter_baren_verbo-20edouardfraipont-28072016peter_baren_verbo-26edouardfraipont-28072016peter_baren_verbo-30edouardfraipont-28072016peter_baren_verbo-35edouardfraipont-28072016peter_baren_verbo-38edouardfraipont-28072016
PEOPLE HAVE THE POWER! PEOPLE HAVE THE POWER!peter_baren_verbo-58edouardfraipont-28072016peter_baren_verbo-63edouardfraipont-28072016peter_baren_verbo-70edouardfraipont-28072016peter_baren_verbo-66edouardfraipont-28072016peter_baren_verbo-77edouardfraipont-28072016

THERE IS A GARDEN AT THE BOTTOM!

 

BLIND DATES WITH THE HISTORY OF MANKIND (RAGE AND TIME)
Performance Suite Belo Horizonte

Belo Horizonte, Brasil 2016

MIP3. III Manifestacao internacional de performance
Date: 7 August
Performance: Peter Baren, Italo Augusto Moreira, Jairo Moser, Pa Ma, Diego Nonato Dos Reis
Location: SESC, Palladium
Photography: Victor Galvao

 SCORE:

_MG_5804_MG_5812_MG_5818_MG_5827_MG_5837_MG_5846_MG_5863

BLIND DATES WITH HISTORY OF MANKIND (RAGE AND TIME) Performance Suite Chicago
Chicago, US 2016

RAPID PULSE #5. International Performance Art Festival.
Date: 4 June
Performance: Peter Baren, Beth Fiedorek, Zach Nicol, Josh Samuels, Charles Joseph Smith
Location: Defibrillator Gallery, Chicago
Photography: Jeremy Sublewski, Vela Oma
Blog text by Jennie Klein during RAPID PULSE#5, Day 4.
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 from name Barens’ book of the same title, references a history of revolutionary ideas and actions. Originally trained as a painter and visual artist, and with a background in theater 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 2007-8 and Blind Dates With The History of Mankind (First performance during Infr’ActionVenezia 2 in Venice, Italy 2013). The former included a blindfolded man reading from 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, his eyes blacked out by a censor bar, carried along a texted wirra (Australian boomerang) for four days. 

Blind Date With The History Of Mankind (Rage and Time) began with Baren’s trademark fog. Entering the space, Baren, his eyes covered with a black censor bar, wrote down the word Hope in several languages, making a kind of spoked wheel-like diagram in the process. In between the floortexting he sang aloud “KEEP YOUR VACUUMS CLEAN!
(A line from a song by Nasmak).

Periodically Baren would lead other performers into the space, including two saran-wrapped and molasses drenched runners, a sock clad whirling dervish, and a blindfolded man in a suit who moved from spoke to spoke and read from Rage and Time. The performance ended when the man in the suit had completed the circuit of spokes. Baren led the dervish and the running figures out of the space. 

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 the audience to consider “PEOPLE HAVE THE POWER” (Title song by Patti Smith) 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!” (an excerpt of a song by The Associates) when the mop and stained shirt were held up. As the audience shuffled 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! 


SCORE - SCN_00010. 2016 RAPID PULSE. Image Vela Oma. PeterBaren_rp52016_photoVelaOma-13. 20160604_Rp16_PeterBaren_dfb_Photo_JeremySublewski0462. 20160604_Rp16_PeterBaren_dfb_Photo_JeremySublewski05013. 20160604_Rp16_PeterBaren_dfb_Photo_JeremySublewski14613. 2016 RAPID PULSE. Image vela Oma. PeterBaren_rp52016_photoVelaOma-14"10.