2020 – 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>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] a live installment was produced with elements of the project above

———————————————————————————————————

The performance 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 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 or 2021 ——————————————————————————————————-

Upcoming:

SALAMIS project. Archeology and Environment. Salamis island, Greece [2021]            CONNECTION > EUROPE. Santiago, Chile / Curitiba and other partners in Rio de Janeiro, Sao Paulo, Brasil [produced by PERFOLINK, Chile]
la-bas. Experimental live art. Museum Kiasma, Helsinki, Finland
BLAUVERSCHIEBUNG NO11. MdbK / Museum der bildenden Künste, Leipzig, Germany
[initiated by and in co-operation with Galerie KUB]                                                                                        3rd CROSSING BORDER_BORDER CROSSING. Mong Kok district, Hong Kong [different locations and venues]

Next:

UP-ON. International Live Art Festival. Chengdu, China                                            Unforeseen circumstances [coronacrisis] postponed PB’s March residency at Luxehills Art Museum with performances and lecture to 2021 [originally sceduled for 12- 22 October].

Performances and other presentations sofar:

2020

PROGRESS PROGRESS [STRANDED]

Het onderste bestand is als digitale druk op papier te bezichtigen tijdens de tentoonstelling CORONA ARCHIVES PASSAGE in Nieuw Dakota, Amsterdam. 12 juli – 30 augustus. Foto: Jacques Martens.

 

18 May – dream idea machine ART VIEW  featuring in greek online artmagazine with BDWTHOM performance series, Venice May 2013.

PERFORMANCE: Peter Baren – Blind Dates With The History Of Mankind

Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Joakim Stampe, © Peter Baren, Courtesy the artist

Four days in a row a figure walked very slowly up and down Garibaldi Street. Dressed in a grey suit, censor bar painted across its face, holding a boomerang in one hand and a dirty, 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 day TAI HE (Chinese for Harmonious Operation Of All Things On Earth) was written on both sides of the boomerang, the following days respectively STRUGGLES, LOSS and ABSENCE were written on the other side. The walk started at Garibaldi monument and continued in a straight line towards the bridge close to Giardini. Arriving on the bridge, the figure came to a standstill and held the boomerang above the other hand holding the shirt. The end of the daily performance was marked by having the boomerang tied to the fence surrounding the monument. Venice, Italy 2013.     

CV Peter Baren (1954) The Netherlands and lives in Amsterdam. He studied painting at the Rijksakademie van beeldende kunsten in Amsterdam from 1972 to 1977. Since his first public performance in 1980 his work has been shown frequently in the Netherlands  and on an international level during the mid-eighties. In 1989 he was one of the recipients of the PRIX DE ROME Art & Theatre. Baren’s work is often collaborative; other artists he has worked with in an early stage include a.o. dancer, choreographer Truus Bronkhorst, poet Koos Dalstar and artist Marion Gadiot. Baren’s multimedia practice includes site-specific public performances which he refered to as ‘temporary explorations’. He uses video both for documenting these performances and to create works which are more medium-specific examinations revolving around the history of mankind, cultural objects and space. Many of Baren’s pieces commemorate the notion of ritual and the way it functions in various socio-cultural contexts. This is conveyed in his art through the use of concepts of otherness and ancient cultures in works that also employ ‘body art’ techniques although in minimalist settings constructed with historical props. “PETER BAREN Blind Dates With The History Of Mankind Performances 1980-2013”, the monography, was presented during STAGE IT! Series of presentations and lectures on performance art. at Stedelijk Museum Amsterdam, May 2014. “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 and memory, derived from our social and cultural circumstances. Recent invitations arrived from China, Chile, Brasil, Germany, Slovakia, Finland and Greece.

Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Joakim Stampe, © Peter Baren, Courtesy the artist

Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy. Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe. Photo: Joakim Stampe, © Peter Baren, Courtesy the artist
Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Joakim Stampe, © Peter Baren, Courtesy the artist
Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy. Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe. Photo: Joakim Stampe, © Peter Baren, Courtesy the artist
Left & Right: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Wolfgang Traeger, © Peter Baren, Courtesy the artist
Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy. Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe. Photos: Wolfgang Traeger, © Peter Baren, Courtesy the artist
Left & Right: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Joakim Stampe, © Peter Baren, Courtesy the artist
Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy. Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe. Photos: Joakim Stampe, © Peter Baren, Courtesy the artist
Left: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Joakim Stampe, © Peter Baren, Courtesy the artist Right: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Wolfgang Traeger, © Peter Baren, Courtesy the artist
Left: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy. Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, © Peter Baren, Courtesy the artist. Left photo: Joakim Stampe, Right photo: Wolfgang Traeger
Left: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Joakim Stampe, © Peter Baren, Courtesy the artist Right: Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, Photo: Jean-Claude Cote, © Peter Baren, Courtesy the artist
Peter Baren, performance BLIND DATES WITH HISTORY OF MANKIND [STRUGGLES, LOSS, ABSENCE], 27-30/5/2013, Venice, Italy, Produced for DEFRAMED. Infraction Venezia #2. Curator: Jonas Stampe, © Peter Baren, Courtesy the artist. Left photo: Joakim Stampe, Right photo: Jean Claude Coté

DREAMIDEAMACHINE  greek online magazine – publication date: 18 May 2020      PETER BAREN  BDWTHOM performance series, Venice 2013

WHAT REMAINS:
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

2019

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!     

 

ON FRIENDSHIP COLLATERAL DAMAGE III.
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/

DATES & VENUES

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

                    

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

 

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.

2018

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,

 

BLIND DATES WITH THE HISTORY OF MANKIND [THE WEIGHT OF LOVE]
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

 

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 tracesProject 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 station: 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 a 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

PB performance was made possible with the financial support of Fonds Kwadraat

below: walking to performance space – 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), Olivia Reschofsky (OR)
Produced by FLAM/Forum of Live Art amsterdaM

score 1:                                                                                                                                              WE THE BLIND PEOPLE? PEACE WILL COME TO ME!
Durational walks with textboard and censor bar – around the artfair

score 2:                                                                                                                                    PEACE WILL COME TO ME! I’M GOING TO LIGHT UP THE WORLD:                                                                                                                                    Floortext with blow-up letters torn from dutch constitution papers –                                  around FLAM booth

                                             GB

GB

ML

ML

PEACE WIL COME TO ME! I’M GOING TO LIGHT UP THE WORLD:

 


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.              
[September – December 2016]

PB performance 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 GonggrijpSCORE:
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

[MICHAEL GIBB’s VOICE:] SECRET IT IS

STATIONS OF NAMELESS ENERGY (1987)                                                                  Amsterdam 2016

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

De Fabriek, Eindhoven NL, November 1987. Photo: Peter Cox

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

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_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                                …the evening falls

 

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-28072016

peter_baren_verbo-6edouardfraipont-28072016

peter_baren_verbo-8edouardfraipont-28072016

peter_baren_verbo-11edouardfraipont-28072016                          KEEP YOUR VACUUMS CLEAN!peter_baren_verbo-12edouardfraipont-28072016

peter_baren_verbo-13edouardfraipont-28072016

peter_baren_verbo-18edouardfraipont-28072016

peter_baren_verbo-20edouardfraipont-28072016

peter_baren_verbo-26edouardfraipont-28072016

peter_baren_verbo-30edouardfraipont-28072016

peter_baren_verbo-35edouardfraipont-28072016

peter_baren_verbo-38edouardfraipont-28072016
PEOPLE HAVE THE POWER! PEOPLE HAVE THE POWER!peter_baren_verbo-58edouardfraipont-28072016

peter_baren_verbo-63edouardfraipont-28072016

peter_baren_verbo-70edouardfraipont-28072016

peter_baren_verbo-66edouardfraipont-28072016

peter_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_0001

0. 2016 RAPID PULSE. Image Vela Oma. PeterBaren_rp52016_photoVelaOma-1

3. 20160604_Rp16_PeterBaren_dfb_Photo_JeremySublewski046

2. 20160604_Rp16_PeterBaren_dfb_Photo_JeremySublewski050

13. 20160604_Rp16_PeterBaren_dfb_Photo_JeremySublewski146

13. 2016 RAPID PULSE. Image vela Oma. PeterBaren_rp52016_photoVelaOma-14

10. 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, GentSCORE:
…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_199 by JG
20150712_Live_Life_200 by JG
20150712_Live_Life_201.1 by MM
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 (REQUIEM forRAGE 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 VatSCORE:
…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
Curators: Klaus Richter, Peter Baren                                                                                            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
Curator: Hendrik Folkerts                                                                                                  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 EmdenAlso performed during 11th MALAMUT Performance Festival. Durational walks connecting public sites around the city of Ostrava, Czech Republic. 30 and 31 October 2013SCORE:
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
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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 2012International 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
SCN_0001
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 HISTORY)
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:
SCN_0002
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]SONY DSC

SONY DSC

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ARK DISCOVER HEAVEN AND OTHER TERMINAL BODIES
Guangzhou, China 2010

Guangzhou Live 1
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:
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 painted across the eyes, white shirt, wide black trousers, bare feet) enters the space with a flickering and noisy scale model machine and puts it on the concrete floor (INDUSTRIAL COMPLEX).
A second figure is walked in and is positioned right in front of a pile of shirts, and will run on the spot, for the whole length of the performance (PROGRESS PROGRESS).
Third figure has two shiny satellites dangling from its fingers and is lead to the right hand side of the space, opposite the scale model machine. Slowly rotating till the end of the performance. Fourth and last figure is led inside. Dressed in a grey suit, white shirt, black shoes and its head wrapped in a Palestinian scarf. Settled in a beggar position in the far end against piles of brick. Slips of paper are put in its hands, which read DISCOVER HEAVEN in different languages. Every now and then another note is put on top.
A second beginning of the performance continues by facing the running figure with first the dirty shirts. One by one they are held up for a moment and then pinned to walls all around. This action is repeated ten times. Then the first figure mirrors the position of the fourth figure against the piles of brick and proceeds with writing on the floor, away from this figure and with its back towards the running figure. Starting with RESOCIALIZE SPIRITS (words are repeated and or sometimes crossed out) the ever-longer string of words is followed by RESOCIALIZE SPIRITS, – SOULS, – QUEUES, – CROWDS- around the scale model machine TAI HE is scribbled (chinese for: harmonious operation of all things on earth). Opposite and around the rotating figure, a balloon shaped text is texted, reading HOPE in different languages. Continues with RESOCIALIZE JIHAD and towards the end, when the floor texts show STRUGGLES, STRUGGLES, STRUGGLES, the first figure rises from its seated position, turns around and walks towards the running figure upfront. When facing this figure, both freeze in their position. First figure tears its shirt and carries the other out of the space. On return the fourth (beggar) figure is put back on its feet and guided across the floor texts. The last figure (with the satellites) is also walked out of the space.
The final action is carried out by wiping all the texting off the floor and shirts are taken off the walls. The fog slowly evaporates and the space shows itself again. [PB]

IMG_10092010 Guangzhou GZL 01IMG_1104IMG_1111IMG_1035IMG_1041IMG_1052IMG_1062IMG_1070IMG_1127IMG_11562010 Guangzhou GZL 9.1IMG_1085IMG_1097IMG_12042010 Guangzhou GZL 8IMG_1220IMG_1228IMG_1241

Please visit the texted curriculum vitae from 2009 back to 1979.

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