On July 16 & 17, 2020, Miles Greenberg presented OYSTERKNIFE, his longest performance to date and his most physically challenging by far. For an uninterrupted 24 hours (July 16 at 4pm-July 17 at 4pm), Green berg walked consistently atop a flat conveyor belt in an enclosed, empty theater space inside Montreal’s Centre Phi. The performance was broadcast on screens around the Centre and was presented live online by MAI (Marina Abramović Institute). The title OYSTERKNIFE derives from Zora Neale-Hurston’s seminal 1928 essay How It Feels To Be Colored Me, in which she famously states that she does not “weep at the world […] I’m too busy sharpening my oyster knife.”

Soundtrack is by Kelsey Lu.
About Miles Greenberg

French Canadian-born Miles Greenberg (b. 1997) is a performance artist researcher in corporal move ment. His practice primarily consists of immersive works of durational performance. Upon taking leave from formal education at age seventeen, Greenberg launched a four year-long independent research project studying movement and architecture they relate to the black body. This took spanned a number of solo ar tistic/research residencies France, the USA, Germany, Haïti and China, including École Jacques Lecoq and Musée du Palais de Tokyo in Paris, Red Gate Gallery Beijing and Long Island’s Watermill Center. Meanwhile, he pursued a largely self-driven education in linguistics, perfumery, butoh and physical theatre. He has worked under figures such as Edouard Lock, Robert Wilson and Marina Abramović. His form is the result of rigorous methodology which resides at the threshold of performance and sculpture. He employs natural materials as well as new technologies, audio, visual and olfactory landscapes to create sensorially-immer sive environments. These environments follow self-contained, non-linear systems of logic that are best understood in relation to one another.
www.milesgreenberg.com www.instagram.com/miles.greenberg