2020 – 2010: images, descriptive texts and scores (a selection)


 [Blind Dates With The History Of Mankind / ONLY FOOLS DIE]

89>97>01>13>20>27>49  [work in process // UNDER CONSTRUCTION]

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

During WHAT REMAINS, Chicago [February 2020] live installment with elements of the project above


The recent series BLIND DATES WITH THE HISTORY OF MANKIND, 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 and cultural circumstances

The following section is shaped as a long film strip combined with descriptive texts, images and larded     with scores [selected for you from the present back to 2010]

——————————————————————————————————- Due to the international LOCKDOWN presentations mentioned below [Upcoming and Next] are postponed till further notice ——————————————————————————————————-


SALAMIS project. Archeology and Environment part 1. Salamis island, Greece CONNECTION > EUROPE. Santiago, Chile / p.ARTE, Curitiba, Brasil and other partners [produced by PERFOLINK, Chile]
la-bas. Experimental live art. Museum Kiasma, Helsinki, Finland
BLAUVERSCHIEBUNG NO11. MdbK / Museum der bildenden Künste, Leipzig, Germany
[co-operation with and initiated by Galerie KUB]                                                                                        3rd CROSSING BORDER_BORDER CROSSING. Mong Kok district, Hong Kong


8th UP-ON. International Live Art Festival. Chengdu, China                                           Unforeseen circumstances [coronacrisis] postponed PB’s residency at Luxehills Art Museum [March]. Performances and lecture are postponed to a later date [12- 22 October 2020]. This presentation is made possible thanks to the generous support by the Consulate-General of the Netherlands in Chongqing.


Performances and other presentations sofar:


On the Sacred, the Lost and the Forgotten Relics of Live Art.

ARC Gallery, Chicago, US                                                                                                [produced by Defibrillator.org] Gallery]                                                                                                                                               7 – 28 February

Massive in scale and retrospective by nature, What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art is the first exhibition of Defibrillator Gallery’s 10th anniversary year. Curated by Netherlands-based ieke Trinks, this visual art exhibition and performance art series features a cohort of artists from around the world who responded to reanimate Defibrillator’s collection of objects from performances that took place over the past nine years.

What Remains will take place from February 7th to the 28th, 2020 at Defibrillator’s former home in Noble Square – framing the site itself as a relic or record of ephemeral practices. Now ARC Gallery, the storefront is located at 1463 W Chicago Avenue, Chicago IL 60642. Gallery hours for the visual art exhibition are Wednesdays through Saturdays from 12 to 6pm and Sundays 12 to 4pm. Events at ARC Gallery are free and open to the public.

What Remains is divided into FOUR CHAPTERS, each with a specific theme that features a suite of performance art events.                                                                                                                                        CHAPTER ONE: FIXING / TWO: MERGE / THREE: REFERENTIAL / FOUR: CONSUME

CHAPTER 2: MERGE features a Guerrilla street action on February 12, a live installation on February 13, 14 and two performance programs on Feb. 15.

“MERGE” literally means the bringing together of different relics into a new object, as we will witness in Doro Seror’s piece as two relics are woven into one. But merge also stands for the meeting of the past with the present, by bringing new ideas to a relic that already has a history as we will experience with Peter Baren’s performative installation. Merge also is a form of transition and mutation into something other, as Esther Neff & Kaia Gilje are going to explore between animating relics and embody them with their bodies. For the larger part this chapter’s focus will be on the body of the performer in relation to the object.  

WEEK 2: MERGE. Live installment of PB contribution by Christine Cooper on Thursday 13, Friday 14, Saturday 15.

PROJECT: STILL WAITING/NO REQUIEM                                                                                           For Baren STILL WAITING/NO REQUIEM is an outstanding occasion to be able at the one hand to indulge and at the other hand to transfer this project [THE PACK OF TING] that never saw the light of day, onto Marilyn Arsem’s table and chair used in her performance during the 2015 Rapid Pulse edition including the 4 dry flowers.

Studies were texted and drawn in white onto burned surfaces in situ of both table and chair, hanging down from the ceiling. They include make overs of pieces by Magdalena Abakanowicz, Joseph Beuys, Kiki Smith, Gerrit van Bakel and Martin Disler.

Eventually to bring them together in full scale with short and durational PB performances, to be executed on a later date…


PeterBaren, Rapid Pulse Festival, Photo by Jeremy Sublewski 2016   2016 PeterBaren performance during Rapid Pulse Festival#5. Photo by Jeremy Sublewski


LOCUS SOLUS [Artist Practice in Progress]. Amsterdam, NL                                                16 November – 7 December.

ON HOPE AND OTHER TERMINAL BODIES. Peter Baren series of 3 performance stills.

Part of the exhibition: CONFRONTATION II. franck gribling reacts to the work of Joseph Sassoon. Also several performances in this project by Joseph Sassoon Semah:           ON FRIENDSHIP [Collateral Damage] III. The Third GaLUT.
The Guest becomes Host.                                                                                                                                                                     Below: Peter Baren contribution in Locus Solus.
Series of 3 photo works.                            Color prints mounted on aluminium, ttl 85 x 242 cms. Edition 1/5. 2006.

                Joseph Sassoon Semah and Franck Gribling preparing

ON FRIENDSHIP. [Collateral Damage] III. The Third GaLUT
PB participation in several performances, spread out over Amsterdam in 36 locations [1 in Jerusalem and 1 in Baghdad].

Period: Sep. 2019 till February 2020

A project by Joseph Sassoon SemahMet zijn kunstmanifestatie On Friendship/(Collateral Damage) III – The Third GaLUT: Baghdad, Jerusalem, Amsterdam maakt Semah een poëtische en kritische zoektocht naar deze drie steden. Alle drie van oudsher gastvrije en tolerante toevluchtsoorden, maar zijn ze dat vandaag nog? Wat is de plaats van de ‘gast’ op het moment dat die zijn plaats opeist en van gast gastheer wordt? Op deze manier onderzoekt Semah de aard van ballingschap en balling, van diaspora en terugkeer.More information: http://rozenbergquarterly.com/-16 January [2020], Jewish Historical Museum
-3 November, Freemason foundation
-2 November, MUSEUMNIGHT. Hermitage
-20 October, De Domijnen, Sittard
-12 September, Goethe Institute [all locations in Amsterdam except De Domijnen]Being Touched By An Angel Just Before Birth.
Museum Hedendaagse Kunst De Domijnen, Sittard
Performance during opening of the retrospective exhibition by Joseph Sassoon Semah from 20 October- 16 February 2020-

Video by Bob Schoo. Duration – 12:43 mins                                                                    https://www.youtube.com/watch?v=keNnNkJRrsE&feature=youtu.be


RED PLEXUS/ Préavis de Desordre Urbain#13.
Friche la Belle de Mai. Marseille, France

Burial of Préavis de Désordre Urbain festival and Rebirth of RED PLEXUS                        12/13/14 September           Red Plexus, death and birth of an event.
Article in La Provence newspaper. 11 September 2019.                 Text on board: Everything must disappear!     


Lumen Travo Gallery, Amsterdam NL
7 September

[PB taking part in] performance and first presentation of Joseph Sassoon Semah’s project,  running from September 2019 till February 2020 in 36 locations spread around Bagdad, Jerusalem and Amsterdam. Video by Bob Schoo. Duration: 7.21 mins.

            LINK: https://www.youtube.com/watch?v=VNhciC-BW

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

PB LECTURE and PERFORMANCE                                                                                 More on the participating artists:                                                                      http://www.performancesite.nl/artists-project-id/


Evening lectures and artist talks Stichting Ruimtevaart: June 28 and June 30,  7:00 – 10:00 PM
Residency Class tutored by VestAndPage & Marilyn Arsem: June 25 – July 3
Study Movie Room Stichting Ruimtevaart:                                                                                  July 5, 12:00 – 6:00 PM – July 7,  12:00 AM – 11:30 PM
[produced by LADA/ Live Art Development Agency, London and VestAndPage]
Collective Performance Opera at Maakhaven: July 5, 7:30 – 11:00 PM
Live program at De Helena and De Barthkapel:  July 6 / 7 July, 7:00 – 11:30 PMEvening lectures and artist talks Stichting Ruimtevaart, Den Haag
Sunday, June 30th  7:00-10:00 pm We cordially invite you to 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                                       [Origin – Change- Identity].
The lecture by Peter Baren was larded with fleeting examples from his performance practice.
Witnesses of ever changing identities in between social actions and behavior outlet.   Sunday 30 June                                                                                                                                    Image: Kirsten Heshusius

Sunday, 7 July 7:00 PM. Location: Barth chapel
LIVE performance BLIND DATES WITH THE HISTORY OF MANKIND                    [NO REQUIEM] together with Imke Zeinstra. Images: Jacques Martens



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


UPDATE. New Members exhibition/ Nieuwe Leden tentoonstelling.
Arti et Amicitiae, Amsterdam, The Netherlands.
29 June – 28 July.

On show a selection of performance studies and handscripted scores                                        [first time ever on display – from the period 2007 – 2019]
Below a few examples.


ART ACTION 1998 – 2018Quebec, 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 performance stills 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 / videos of 2007 and 2017  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
Exhibition and performances on different locations across the city
Date: 6 – 9 September

TAC#30. 1988-2018. The exhibition. September/October.                                           Curated by: Helena Markusova.
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]During TAC festival 2002 policemen showed up since I was performing BEGGARS BANQUET [DISCOVER HEAVEN]  around this catholic monument on Main Square. Photos: Lehel Tot.a.o. Adina_Baron, Julius Koller, Andre Stitt, Elvira Santamaria, Ben Patterson, Skip Arnold, Roddy Hunter, Esther Ferrer, Wladyslaw Kasmierczak, Istvan Kovacs, Roi Vaara, Mongkol Plienbangchang, Helge Meyer, Marco Taubner, Zbigniew Warpechowski, Bartholome Ferrando,


TAC#30. Nové Zámky, Slovakia 2018

Score: During the beginning of the performance I walk along the people present and look everbody straight in the eyes and smile. After that round I put out my socks and shoes. Followed by putting lots of balsam on my lips and spray an overload of parfum around my head. Next action is laying myself down on the tiled floor where hands and feet are covered with heavy stones from the region. The fifth stone is placed against my head by an intervention of one of the people around. Slowly and softly I start whistling MISA LUPA [Lone Wolf by RIP RIG AND PANIC] and alternate between whistling that melody and increasingly louder and louder the words: MILOVAL SOM VáS TAKY! [I Loved You Too!]. After shouting at the top of my voice, the stones are removed again from the hands and feet. Slowly I get up and walk out, off balance.

Performance: Peter Baren, Mads Floor Andersen, Sebastian Bechinger,                                  Rokko Juhasz, Sara Lanner
Location: Csemadok [Hungarian Cultural Center]
Date: 9 September
Images: Ondrej Berta, Lehel Toth                   Making eye contact and smile towards every person present
Taking shoes off

Lots of lip balsam [commemorating all the kisses] 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


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