Miles Greenberg Explores Conflict Through Durational Performance Art
The artist navigates censorship and historical archetypes in his latest six-hour performance piece.
1Early Artistic Foundations
Miles Greenberg traces his artistic origin to a childhood visit to the Museum of Modern Art. Seeing Marina Abramović perform at age twelve ignited his desire to treat performance as sculpture. He later trained under Robert Wilson and Édouard Lock, refining a practice that prioritizes static, statuesque forms over traditional performance tropes.
2The WAR Performance
On October 29, Greenberg debuted his six-hour durational work titled WAR. Hosted by Performa and curated by Zoe Lukov, the piece utilized the vacant 86th Street Cinema in New York. Over 40 performers walked continuously on treadmills, accompanied by a trance-like musical score composed by artist Chino Amobi for the event.
3Navigating Venue Challenges
Greenberg faced significant difficulties securing a physical space for his performance. The artist noted that the current geopolitical climate, specifically regarding the ongoing conflict in Palestine, created obstacles for staging a work centered on war. These external pressures forced him to navigate censorship while attempting to realize his ambitious artistic vision.
4Archetypes and Historical Canon
Greenberg frequently incorporates figures like Saint Sebastian and Marsyas into his work. He views these historical archetypes as strategic tools to anchor his practice within the Western art canon. By adopting these established figures, he seeks to define his own artistic identity rather than remaining on the margins of art history.
5Performance as Sculpture
Unlike many performance artists who focus on shock value, Greenberg emphasizes the sculptural quality of his bodies in motion. He draws inspiration from Baroque masters like Bernini, aiming to create portraits that transcend the fleeting nature of performance. His goal is to reach a state of being that is difficult to access.
6Identity and Artistic Agency
As a queer Black artist, Greenberg rejects the idea of marginality as a destination for his work. He explicitly positions his practice in direct conversation with the historical canon that raised him. By channeling these narratives, he asserts his place within a lineage that has historically excluded voices like his own.
7The Mechanics of Endurance
The use of treadmills in WAR serves as a mechanism to test the limitations of human endurance. By forcing performers into a repetitive, trance-like state, Greenberg creates a visual representation of conflict. This durational approach forces the audience to confront the physical toll and psychological weight inherent in the subject matter.
8Future Artistic Implications
Greenberg’s work continues to challenge the boundaries between sculpture and live performance. By tackling themes of war and historical morality, he forces viewers to engage with complex ethical questions. His ability to navigate venue restrictions suggests that his future projects will likely remain deeply intertwined with contemporary political and social realities.