Quebec-born Miles Greenberg (b. 1997) is a performance artist, installation artist and researcher in movement theory. His work centers around notions of identity, displacement and trauma through varied explorations of the black body in space. His work consists primarily of large-scale works of immersive durational performance.
Upon taking leave from formal education at age seventeen, Greenberg projected himself into a four year-long independent research project on movement and architecture as it relates to the black body. This took place between France, the USA, Germany, Haïti and China, and spanned a number of solo artistic/research residencies at École Jacques Lecoq and Musée du Palais de Tokyo in Paris, Red Gate Gallery Beijing and Long Island’s Watermill Center. He has a largely self-acquired background in linguistics, perfumery, butoh and physical theatre, and has studied under the direction of various mentors such as Edouard Lock, Robert Wilson and Marina Abramović.
Greenberg’s form consists of a highly theorized methodology that resides at a threshold of performance and sculpture, employing new technologies to create multilayered sensorially-immersive activations. The work draws on techniques from various religious ceremonies, rites and rituals, butoh and other Japanese forms, ballroom culture and hypnosis. It follows self-contained, non-linear systems of logic that are best understood in relation to one another.
Upon taking leave from formal education at age seventeen, Greenberg projected himself into a four year-long independent research project on movement and architecture as it relates to the black body. This took place between France, the USA, Germany, Haïti and China, and spanned a number of solo artistic/research residencies at École Jacques Lecoq and Musée du Palais de Tokyo in Paris, Red Gate Gallery Beijing and Long Island’s Watermill Center. He has a largely self-acquired background in linguistics, perfumery, butoh and physical theatre, and has studied under the direction of various mentors such as Edouard Lock, Robert Wilson and Marina Abramović.
Greenberg’s form consists of a highly theorized methodology that resides at a threshold of performance and sculpture, employing new technologies to create multilayered sensorially-immersive activations. The work draws on techniques from various religious ceremonies, rites and rituals, butoh and other Japanese forms, ballroom culture and hypnosis. It follows self-contained, non-linear systems of logic that are best understood in relation to one another.