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:

7th UP-ON. International Live Art Festival. Chengdu, China
CONNECTION> EUROPE 3. Santiago, Chile [produced by PERFOLINK]
la-bas. Experimental live art. Helsinki, Finland
BLAUVERSCHIEBUNG NO11. MdbK / Museum der bildenden Künste, Leipzig, Germany
[co-operation with Galerie KUB] 

PROJECT ID. In-Between Identities.
Different locations. The Hague, The Netherlands
A coproduction between P.S.PerformanceSite and VestAndPage
Sceduled for June / July 2019

Performance Meeting.
Casa Viva. Mexico City, Mexico
26 april 2019

PERFORMANCEAR O MORIR #10 [final edition]
Performance series in Chihuahua, Norogachi, Donjes Valley, Creel, Dunes of Samalayuca, Mexico
12 – 22 April 2019

Realised performances and other presentations:

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.
Ieke Trinks produced a text and lecture on PERFORMANCE ART AND ART[ISTS] INITIATIVES IN THE NETHERLANDS.
11 November – section: EUROPE.
During this period, 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 and photo material is on display.
[The new publication is to be released in 2019, 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 photos and videos in documentary exhibition: PROGRESS PROGRESS [1997 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, Roddy Hunter, Esther Ferrer, Skip Arnold, Boris Nieslony, Roi Vaara, Jan Swidzinski, Elvira Santamaria, 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, 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.
London 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 [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, 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
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-
Made possible also with the financial support of Fonds Kwadraat
below: Amsterdam score

 

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
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
GB

ML

ML

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

[VOICED:] SECRET IT IS

STATIONS OF NAMELESS ENERGY (1987)                                                              Amsterdam, October 2016

Monologue audio recording of  1987 performance by Peter Baren at Rijksacademie archive, Amsterdam (2016)

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

 

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

Equinox To Equinox. Day of Public Actions For Freedom And Democracy                                                               (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 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-1410. 2016 RAPID PULSE. Image Vela Oma. PeterBaren_rp52016_photoVelaOma-12

BLIND DATES WITH THE HISTORY OF MANKIND (RAGE AND TIME)
Gent, Belgium 2015

LIFE/LIVE. Interactive performances and installations.
Date: 12 July
Performance: Peter Baren
Location: Ledeberg square, Gent
Duration: 1 hour
Photography: Johan Guirnaert, Snezana Golubovic, Monali Meher
Produced by Monali Meher for Achturenhuis, Gent

SCORE:
…walk…across the Sunday market on Ledeberg square…with each step one foot is held next to the other, for a second…regular stops facing…church, number of different stands, cafeteria, bus stop, World War 1 monument…finally brasserie… during this walk is riffled through the book by Peter Sloterdijk (RAGE AND TIME)… and, at random, one paragraph is read aloud while bending back and forth…the open book is held against the face…a deep sigh follows….book is closed… from the chestpocket a white handkerchief is pulled out..and walking again…this action is repeated untill there is a long string of knotted handkerchiefs almost touching the ground…

20150712_Live_Life_187 by Peter Baren
20150712_Live_Life_188 by Johan Guirnaert (2)
20150712_Live_Life_189 by JG
20150712_Live_Life_190 by Monali Meher
20150712_Live_Life_193 by JG
20150712_Live_Life_195 by JG
20150712_Live_Life_196 by JG
20150712_Live_Life_198 by JG
20150712_Live_Life_199 by JG
20150712_Live_Life_200 by JG
20150712_Live_Life_201.1 by MM
20150712_Live_Life_202 by JG
20150712_Live_Life_203 by JG
20150712_Live_Life_204 by MM
20150712_Live_Life_204_COPY EDITED groot

BLIND DATES WITH THE HISTORY OF MANKIND (RAGE AND TIME)
Dordrecht, The Netherlands 2015

PERFORMANCEFESTIVAL with traces
Date: 13 June
Performance: Peter Baren
Location: Pictura, Dordrecht
Duration: 20 mins
Photography: Nico Parlevliet, Yvo van der Vat

SCORE:
…entering the main exhibition room, smile on face…with each step one foot is held next to the other foot, for a second…walk towards one of the walls…riffle through the book by Peter Sloterdijk (RAGE AND TIME)…choose, at random, one full sentence and read it aloud while bending back and forth…
…the open book is held against the face…a white handkerchief is taken from a pocket…stretched arm…and dropped…one deep sigh in the book follows…turn around, smile and walk crosswise towards one of the opposing walls…riffle through the book and once again crosswise through the space and again untill the pockets are empty…

2015 Dordrecht Blind Dates With The History Of Mankind2015 Dordrecht Pictura 13 mei performance (2)20150613_140358

BLIND DATES WITH THE HISTORY OF MANKIND (RAGE AND TIME)
Neuss, Germany 2015

ANDERS SEIN. Six artists, 2 countries, 5 nationalities
Date: 9 May
Performance: Peter Baren
Location: Neuss city centre
Duration: 2 hours
Photography: Geurt Imanse, Andreas Woitschuetzke
Produced by Klaus Richter for Kulturforum Alte Post

SCORE:
…walk…with each step one foot is held next to the other foot, for a second…
hold…facing object…riffle through the book by Peter Sloterdijk (RAGE AND TIME)…
choose, at random, one full sentence and read it aloud while bending back and forth…
…the open book is held against the face…
a white handkerchief is taken from a pocket…stretched arm…and dropped…
one deep sigh in the book follows…book is closed and walk again…
this action continues around the city…and is performed facing…
Hessen Turm remains…
…roman excavations…
marketplace…
…Quirinusmünster…
shopping street…
…Deutsche bank …
city wall…
…bus stop…
city wall…
…city gate…
roundabout…
…city wall…
Kulturforum.

2015 09 05 830 Neuss perfo Peter Baren2015 09 05 832 Neuss perfo Peter2015 09 05 833 Neuss perfo PeterKunstaktion in der Innenstadt hier Peter BarenKunstaktion in der Innenstadt hier Peter BarenKunstaktion in der Innenstadt hier Peter BarenKunstaktion in der Innenstadt hier Peter Baren2015 09 05 850 Neuss PETER BAREN2015 09 05 851 Neuss PETER BAREN2015 09 05 879 Neuss perfo Peter2015 09 05 860 Neuss perfo Peter

PETER BAREN BLIND DATES WITH THE HISTORY OF MANKIND
PERFORMANCES 1980-2013
Amsterdam, The Netherlands 2014

STAGE IT!
Series of presentations and lectures on performance art
Date: 18 May
Speakers: Marga van Mechelen, Bart Rutten, Koos Dalstra, Alex de Vries
Performance: Peter Baren/Koos Dalstra
Location: Stedelijk Museum, Teijin Auditorium
Photography: Gert Jan van Rooij

BLIND DATES WITH THE HISTORY OF MANKIND (STRUGGLES, LOSS, ABSENCE)
Venice, Italy 2013

DEFRAMED. Infr’Action Venezia 2. Alongside the preview of 55th Venice Biennial
Date: 27, 28, 29 and 30 May
Performance: Peter Baren
Location: between Garibaldi monument and Viale Giuseppe Garibaldi (bridge), Venice
Duration: 2 hours (daily)
Photography: Joakim Stampe, Jean-Claude Coté, Wolfgang Traeger, Roland von der Emden

Also performed during 11th MALAMUT Performance Festival. Durational walks connecting public sites around the city of Ostrava, Czech Republic. 30 and 31 October 2013

SCORE:
Four days in a row a figure walked very slowly up and down Garibaldi Street. Dressed in a grey suit, censor bar painted across the face, holding a wirra (boomerang) in the one hand and a stained, torn shirt in the other. While walking, he held one foot next to the other for just a second, and then continued. Every walk took about two hours. The first time TAI HE (Chinese for Harmonious Operation Of All Things On Earth) was written on both sides of the wirra, the next few days other   words appeared, respectively STRUGGLES,LOSS and ABSENCE. The walk started at the Garibaldi monument and continued in a straight line towards the bridge close to the Giardini. Arriving on the bridge, the figure came to a standstill and held the wirra above the other hand holding the shirt. Ending the daily performance was marked by having the wirra tied to the fence surrounding the monument.

DSC_0269 (3)PETER BAREN. Blind Dates With The History Of Mankind. Performance during INFRACTION 2, Preview, Venice Biennial, May 2013. Image- Wolfgang Traeger._IMG_6836baren_peter_IMG_6849traegerfoto
baren_peter_IMG_6851-2traegerfoto
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ARK SERIES 2012-2004
The ARK series, a multi-sensory work, searches for a meeting ground between sensual bewilderment and political commentary which clashes with the constructed nature of our ideas on both progress and memory, coming from different territories.

For a compilation of ARK series:  go to  performance  video ARK series (2007-2012)

ARK (HOPE, LESSER HEAVEN AND THE EXHAUSTION OF HISTORY)
Piotrkow Trybunalski, Poland 2012

International Art Festival INTERAKCJE XIV
Date: 8 May
Performance: Peter Baren, Justyna Markowiak
Location: Galeria ODA
Duration: 18 mins
Photography: Peter Grzybowski, Marchewa Marchlewicz, Martyna Piasecka

SCORE
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In this performance PROGRESS PROGRESS, the running figure, is moving alongside shirts (used in previous performances) and is followed by floortexted shadows, scribbled into the circle of Hope. At a certain point, the other figure walks up to PP and both come to a stand still. PP is kissed on the mouth and carried out of the space. The floor texting is cleaned up, no traces left.

Interakcje 1e 2012IMG_3760IMG_3770IMG_3773
IMG_3775IMG_3780IMG_3787IMG_3782_MG_1666_MG_16442012 Interakcje 14. MG_1680 (2)_MG_1686IMG_3807_MG_1698

ARK (HOPE, LESSER HEAVEN AND THE EXHAUSTION OF HlSTORY)
Mexico City, Mexico 2011

TRANSMUTED. Festival Internacional de Performance.
Date: 29 April
Performance: Peter Baren, Vanessa Lodigiani, Hugo Martynez, Fernanda Mendina
Sound: Lesser Heaven (Brian Eno- stretched to 33 mins)
Location: Ex Teresa Arte Actual
Duration: 33 mins
Photography: Ramon Coelho, Martin Renteria, Willem Wilhelmus

SCORE:
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Under the impressive cupola of the former church a wide circular text is discried, through the fog, which contains the word HOPE in different languages. The first figure is guided in and runs for the whole length of the performance, clockwise, alongside the floor text. Second figure has two shiny satellites dangling from its fingers and is lead into the huge circle and rotates on the spot, until the end. Third figure is walked in and settled in a beggar position, just outside the circular text. Notes on paper are put in its hands, which read DISCOVER HEAVEN, in different languages. Every now and then another note is slowly put on top.
The first figure then mirrors the position of the third and starts to write words on the floor, backwards, further and further away, towards the rotating figure. Starting with RESOCIALIZE SPIRITS (words are sometimes repeated or crossed out), followed by RESOCIALIZE SOULS, – QUEUES, – CROWDS, – JIHAD and, towards the end, with STRUGGLES. When almost reaching the circle, the first figure gets up and walks towards the running figure. Facing eachother they both freeze in their position. First figure tears its shirt and carries the other, overstretched, out of the space. On return, the second (beggar) figure is put back on its feet and they walk across the floor texts towards the beginning. Next, the figure with the satellites is also walked out of the space.
The last action is carried out by mopping all the texting off the floor. Fog slowly evaporates and the space shows itself again. [PB]

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ARK DISCOVER HEAVEN AND OTHER TERMINAL BODIES
Guangzhou, China 2010

Guangzhou Live
Date: 12 December
Performance: Peter Baren, Qiaosi Xu, Qing Sheng He, Wing Ho Mak, Yu Ting Lian
Location: 53 Art Museum
Duration: 29 Mins
Photography: Hongtoa Zhang, Luo Ming, Ge Zeng
Curated by Jonas Stampe

SCORE:
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The former factory building is denced with fog and lit by working lights high up, in order to obstruct normal sight and to intensify theworking of different senses. The performance starts when the first figure (censor bar