Ahead of his performance piece at the Venice Biennale, Miles Greenberg and Klaus Biesenbach connected to talk objectification and politics.
at MoMA set him on the path of performance art. “Understanding that the body could work as raw material inside of the context of a museum exhibition, which is a context that I always responded to much more than the theater, fundamentally shifted something in me,” the 27-year-old artist told the. Biesenbach, of course, curated Abramović’s notorious retrospective, so when he and Greenberg got together last week, he opted to treat the encounter like a proper studio visit.
BIESENBACH: So, you’re basically saying at 12 years old you saw Marina Abramović perform at MoMA and you decided to become a performance artist—despite the fact you’re not using that word anymore?BIESENBACH: What is the goal of a successful performance? For instance, a performance likeGREENBERG: I think the goal of a successful performance is the same as the goal of any other artwork, which is to affect the audience—efficiently and wholly—while also transforming the materials in a way that is...
GREENBERG: I’ve been coming to Venice for a very long time. As you know, I’ve never missed a Venice Biennale in my lifetime, thanks to my mother who brought me every two years, so this is literally a dream come true. My all-time dream is to represent Canada at the Biennale, but this feels pretty damn close.GREENBERG: Well, I was one, but before that I was in utero. So it’s been every two years of my life from the womb onwards. I haven’t missed one since.
GREENBERG: It was about extending the arrows that are going through my flesh, to take a step beyond what we accomplished in Paris and kind of extend the form. I love robots and prosthetics, extensions of human will or human gestures. So we’ve got these cameras that will be mounted on these robotic arms performing. The gaze of the cameras to me feels a bit like the natural extension of the arrow, like the probing and the sort of tactile nature of it. The arrows aren’t as violent as they may seem.
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