The following section is shaped as a long film strip combined with descriptive texts, essays, images and larded with scores [selected for you from the present back to 2010]
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 PACK OF TING, the project above.
Due to the international pandemic, presentations mentioned below are performed or shown online or postponed till further notice / News [ ]
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 and territories.
CONNECTION > EUROPE. Santiago, Chile / and other partners in Curitiba, Buenos Aires, Rio de Janeiro and Sao Paulo, Brasil [produced by PERFOLINK, Chile]
la-bas. Experimental live art. Museum Kiasma, Helsinki, Finland
BLAUVERSCHIEBUNG. MdbK / Museum der bildenden Künste, Leipzig, Germany
[initiated by and in co-operation with Galerie KUB]
4rd CROSSING BORDER_BORDER CROSSING festival of intermedia. Mong Kok district, Hong Kong. Different locations and venues]. There was an adjusted program 2020 [due to the current corona pandemic] with artists presenting live work who were already in Hong Kong/ China. Curator: Andrew HK Lam. PB Live performances are postponed to the next edition#4 SALAMIS project. Archeology and Environment. Salamina island, Greece
[including PB residency in June – July last year] has been postponed to 2021
Performances and other presentations sofar:
Lushan Art Museum, Chengdu presents the exhibition:
Twelve Years: The Archives of A Scene.
UP-ON International Live Art Festival 2008-2020
Location: Lushan Art Museum, Chengdu, China.
Duration: 22.11.2020 – 28.2.2021
Documentary show with a selection of artists that were presented in 8 editions of UP-ON Live Art Festival. over a period of twelve years.
Several PB performance studies [for the 2019 #7 edition] 2 videos and book on performances 1980 – 2013 are on display. Curator: Tian Meng.
Below: studies for UP-ON performances. Coll. Lushan Art Museum. PROGRESS PROGRESS [STRANDED] the video is also on display in the exhibition.
8th UP-ON International Live Art Festival. Chengdu, China
Due to the corona pandemic PB’s March 2020 residency at Luxehills Art Museum
PB live performances and lecture during this year’s festival are postponed to 2021. [originally sceduled for 12 – 22 October]
New dates: 20 – 25 November.
In stead the UP-ON organisation decided to change the live program [for the international artists] into a presentation of online performance videos.
RAGE AND TIME (2017) and PROGRESS PROGRESS [STRANDED] 2019 are shown in the Wu Temple in Chengxiang’s Old Town.
DEFORMES 2020. Primera Trienal de Performance. Chile
[9 – 13 November] online performance program.
On Tuesday 10 November : 17.45 h – Chile timezone – 21.45 h [CET]
I will present PROGRESS PROGRESS [STRANDED / NO REQUIEM 2019] as part of the performanceseries BLIND DATES WITH THE HISTORY OF MANKIND. Program can be found on www.performancedeformes.cl
Performances will be transmitted through the Triennial’s YouTube channel.
60 performance artists from all around the world will be part of the online version of the first Triennial of Performance DEFORMES in Chile, which also have the participation of renowned scholars and action art researchers.
Thank you Gonzalo Rabanal, Graciela Moreno and team!
Photo: Jacques Martens
3rd CROSSING BORDER_BORDER CROSSING festival of intermedia. Mong Kok district, Hong Kong. Different locations and venues]. There was an adjusted program 2020 [due to the current corona pandemic] with artists presenting live work who were already in Hong Kong and China. Curator: Andrew HK Lam. PB Live performances are postponed to the next edition#4 – autumn 2021
BLIND DATES WITH THE HISTORY OF MANKIND [NO REQUIEM] performance together with Imke Zeinstra. video 3.32 mins. color sound PLAY IT LOUD
Video online since 7 September 2020
Part of Project ID In-Between Identities 2019. The complete Live performance program can be found on:http://www.performancesite.nl/artists-project-id/
Corona-archives Passage. Exhibition. Amsterdam, the Netherlands
Date: 12 July – 30 August Location: Nieuw Dakota PROGRESS PROGRESS [STRANDED]
Het onderste bestand is als digitale druk op papier gepresenteerd tijdens de tentoonstelling Corona-archives Passage in Nieuw Dakota, Amsterdam.12 juli – 30 augustus. PROGRESS PROGRESS [STRANDED] 3delig werk.Foto’s: Jacques Martens.
The digital print [right above] on show during the exhibition Corona-archives Passage. Nieuw Dakota, Amsterdam. 12 July – 30 August.Part of 3piece PROGRESS PROGRESS [STRANDED]Photos: Jacques Martens.
18 May – dreamideamachine ART VIEW featuring in greek online artmagazine with BDWTHOM performance series, Venice 2013.
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 at 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.
DREAMIDEAMACHINE greek online magazine – publication date: 18 May 2020 PETER BAREN BDWTHOM performance series, Venice 2013
On the Sacred, the Lost and the Forgotten Relics of Live Art.
ARC Gallery / Zhou B Art Center, Chicago, US [produced by Defibrillator.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.
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…
2016 PeterBaren performance during Rapid Pulse Festival#5. Photo by Jeremy Sublewski
LOCUS SOLUS [Artists Practice in Progress]. Amsterdam, NL 16 November – 7 December.
Exhibition CONFRONTATION II. franck gribling reacts to the work of Joseph Sassoon Semah. Part of his project: ON FRIENDSHIP [Collateral Damage] III. The Third GaLUT. The Guest becomes Host.
ON HOPE AND OTHER TERMINAL BODIES. Peter Baren series of 3 performance stills. Below: Peter Baren’s contribution exhibited in Locus Solus. Color prints mounted on aluminium, 3 pieces ttl 85 x 242 cms. Edition 1/3. 2006.
Joseph Sassoon Semah and Franck Gribling preparing
ON FRIENDSHIP. [Collateral Damage] III. The Third GaLUT
PB participation in a project by Joseph Sassoon Semah with several performances, spread out over Amsterdam in 36 locations [1 in Jerusalem and 1 in Baghdad].
Period: September 2019 till February 2020
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 , Jewish Historical Museum
-3 November 2019, 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 2019 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
[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.
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
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 with Imke Zeinstra. Images: Jacques Martens
BLIND DATES WITH THE HISTORY OF MANKIND [NO REQUIEM] 3.32 mins. Sound / Color
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 culre.” 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
Arti et Amicitiae, Amsterdam, The Netherlands.
29 June – 28 July.
On show a selection of performance studies and handscripted scores [first time ever on display – from the period 2007 – 2019]
Below a few examples.
ART ACTION 1998 – 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 videos of 2007 and 2017 plus photo material and monography PERFORMANCES 1980 – 2013 are on display.
A text with the same title, written by Trinks, will be featuring in the new publication that will be released on a later date. 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]
[page 55 and 43]Guided tour through the exhibition: 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, Zbigniew Warpechowski, Bartolome 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
——————————————————————————————————– 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!
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 also with the financial support of Fonds Kwadraat below: walking to performance space and 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
PEACE WIL COME TO ME! I’M GOING TO LIGHT UP THE WORLD:
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
[MICHAEL GIBB’s VOICE:] SECRET IT IS
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.
STATIONS OF NAMELESS ENERGY (1987) Amsterdam 2016
Monologue audio recording of 1987 performance by Peter Baren at Rijksakademie archive, Amsterdam (2016). Ongoing project by ieke trinks.
Performance in De Fabriek, Eindhoven NL, November 1987. Photo: Peter Cox
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
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? …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!PEOPLE HAVE THE POWER!” Songline by Patti Smith
(4) “THERE IS A GARDEN AT THE BOTTOM!” Songline by The Associates
KEEP YOUR VACUUMS CLEAN!
PEOPLE HAVE THE POWER! PEOPLE HAVE THE POWER!
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
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!
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…
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…
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
…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…
…Deutsche bank …
…city wall… Kulturforum
PETER BAREN BLIND DATES WITH THE HISTORY OF MANKIND
PERFORMANCES 1980-2013 Amsterdam, The Netherlands 2014
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)
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
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
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
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.
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
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]
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
The former factory building is denced with fog and lit by working lights high up, in order to obstruct normal sight and to intensify the working 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 -in part dirty- 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]
Please visit the texted curriculum vitae from 2009 back to 1979.