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


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

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

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

During WHAT REMAINS. On the Sacred, the Lost and the Forgotten relics of Live Art. Chicago [February 2020:] – live installment with elements of the project above.


CONNECTION > EUROPE. Santiago, Chile / p.ARTE, Curitiba, Brasil and other partners [produced by PERFOLINK, Chile]
la-bas. Experimental live art. Kiasma, Helsinki, Finland
CROSSING BORDER. Mong Kok district, Hong Kong
BLAUVERSCHIEBUNG NO11. MdbK / Museum der bildenden Künste, Leipzig, Germany
[co-operation with and initiated by Galerie KUB]


7th UP-ON. International Live Art Festival. Chengdu, China
Different locations: A4 Art Museum, Wuhu Art Exhibition Center, Luxehills Art Museum, University of Economics, SW Jiaotong University

Due to unforeseen circumstances [coronavirus] PB’s performance and lecture during a residency at Luxehills Art Museum, is postponed till a later date.

This presentation is possible thanks to the generous support of the Consulate-General of the Netherlands in Chongqing

Selected presentations sofar:


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

ARC Gallery, Chicago, US
Curator: ieke Trinks and produced by DFBRL8R.org.                                                             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. Satellite events may request a small donation at the door.

What Remains is divided into FOUR CHAPTERS, each with a specific theme that features a suite of performance art events. 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.

WEEK 2: MERGE. Peter Baren: Live installment by proxy CR Cooper – Thursday 13, Friday 14, Saturday 15 February.

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.  

——————————————————————————————————— LIVE INSTALLMENT: I chose the relics of Marilyn Arsem’s 2015 performance STILL_WAITING for RAPID PULSE#4 at Defibrillator Gallery. Consisting of a table, chair and 4 dried flowers.

Studies to be drawn in white on burned surfaces of 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 with short and durational PB performances. [STILL_WAITING NO REQUIEM] to be executed in full on a later date…

Live installment by proxy CR Cooper on site,                                                                              between Thursday 13 and Wednesday 19 Feb.                                                                           from midday till late.
On show till the end of February.


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

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 his project that never saw the light of day onto Marilyn Arsem’s table and chair used in her performance [STILL WAITING] during the 2015 Rapid Pulse edition including the 4 dry flowers.


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

ON HOPE AND OTHER TERMINAL BODIES. Series of 3 performance stills.
86 x 260 cms, C-prints  mounted on aluminium. Edition: 1/5. 2006.

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’s contribution in Locus Solus

Joseph Sassoon Semah preparation

Reflection. Work by franck gribling

ON FRIENDSHIP. [Collateral Damage] III. The Third GaLUT
Participation in several performances,
spread out over Amsterdam in 36 locations [and 1 in Jerusalem and 1 in Baghdad].
Sep. 2019 till February 2020
A project by Joseph Sassoon Semah

Met 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, MUSEUMNACHT / MUSEUMNIGHT. Hermitage
-20 October, Museum De Domijnen Hedendaagse Kunst, Sittard
-12 September, Goethe Institute [all locations in Amsterdam except De Domijnen]
– 7 September, Lumen Travo

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


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 rebirth of an event.
Article in La Provence newspaper. 11 September 2019.

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

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


Evening lectures and artist talks Stichting Ruimtevaart: June 28 and June 30,  7:00 – 10:00 PM
Residency Class tutored by VestAndPage & Marilyn Arsem: June 25 – July 3
Study Movie Room Stichting Ruimtevaart: July 5, 12:00 – 6:00 PM – July 7,  12:00 AM – 11:30 PM
[produced by LADA/ Live Art Development Agency, London and VestAndPage]
Collective Performance Opera at Maakhaven: July 5, 7:30 – 11:00 PM
Live program at De Helena and De Barthkapel:  July 6 / 7 July, 7:00 – 11:30 PM
Evening lectures and artist talks Stichting Ruimtevaar, Den Haag
Sunday, June 30th  7:00-10:00 pm We cordially invite you an interview with guest speaker Peter Baren, artist and Sanne van Driel, PhD student, Tilburg University Department of Culture Studies. To conclude the evening, artist Andrea Pagnes (VestAndPage) will give a lecture on social progress, gender and identity within Project ID – In Between Identities

SILHOUETTES LIKE SHIVERING ANCIENT FEELINGS [Origin – Change- Identity]. Sunday 30 June                                                                                                                                                      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.
Image: Kirsten Heshusius.

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


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

UPDATE. Nieuwe Leden tentoonstelling.
Arti et Amicitiae, Amsterdam, The Netherlands.
On show a selection of performance studies and handscripted scores [first time ever on display – from the period 2007 / 2019]  29 June – 28 July.
Below a few examples.

WIE SPRECHEN WIR. How Do We Speak? A repertoire of language.
GfZK Galerie für Zeitgenössischer Kunst, Leipzig DE
17 April 2019
My performance STATIONS OF NAMELESS ENERGY (1987) is presented as part of various monologues by ieke Trinks’ presentation I Enter A Room [Performance Monologues] in this exhibition.


ART ACTION 1998 – 2018
Quebec, Canada 2018
RiAP/ Rencontre Internationale d’Art Performance is organized by LE LIEU.
September- December: Exhibitions, conferences, publication ART ACTION 1998-2018.
Continents presented are: Canada, Americas and Africa, Europe, Asia and Oceania.
11 November – section: EUROPE.
ieke Trinks produced a lecture on PERFORMANCE ART AND ART[ISTS] INITIATIVES IN THE NETHERLANDS. A couple of PB 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 before the summer of 2020. 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 a catholic monument on Main Square.
Photo: Lehel Toth.

Featuring in the exhibition a.o. Adina_Baron, Julius Koller, Andre Stitt, Roi Vaara, Elvira Santamaria, Ben Patterson, Skip Arnold, Roddy Hunter, Esther Ferrer, Wladyslaw Kasmierczak, Istvan Kovacs, Mongkol and Paisan Plienbangchang, Helge Meyer, Marco Taubner, Zbigniew Warpechowski, Bartholome Ferrando,

TAC#30. Nové Zámky, Slovakia 2018

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

                             Taking eye contact and smile towards every person present

Taking shoes off

Lots of 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
Biennial of International Performance Art and Noise.
London UK 2018
Different locations around Croydon.

Performed by: Peter BAREN, Anna BOGOS, Lise BOUCON, Gemma JONES, Rob HESP
Date: 21 July
Location: Braithwaite Hall
Images: Julia Bauer


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:]





Leipzig, Germany 2017

10 jahren internationales performance kunst festival Leipzig
Galerie KUB / Museum der bildenden Künste

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.

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



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

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









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

The performance lingers amongst the exhibited work from 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