By Grace Schwindt
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Ian White, Trauerspiel 1, 2012, documentation of performance at Hebbel am Ufer, Berlin. Photograph: © Nina Hoffmann
In a new series, frieze invites artists to present a series of images that are important to them
Ian White, Trauerspiel 1, 2012
For my next entry I have selected a photograph of Trauerspiel 1, a work that was realised in 2012 at the Hebbel am Ufer theatre, Berlin, by Ian White, one of the most important people that I have known, as both a friend and a teacher. Until his untimely death in 2013 he performed in his own work, and his appearances on stage always affected me deeply: he was absolutely fearless when it came to exposing the fragility of his body.
One crucial conversation that we had was about the relationship between the body on the stage and the body on the screen. Ian suggested that, while you could argue that the former is alive and the latter is not, in actual fact neither is alive, because while it is present, the body on stage is rehearsed and wholly predetermined; destined to endlessly repeat the same movements. Thus, a comparison can be drawn between the two forms, as ultimately each is dealing with the same limitations through the same repetitions.
No shortcuts were possible when Ian was around. He taught me the importance of thinking about both the details and the wider context, insisting that I look at everything with an open eye and an open heart; encouraging me to be strong through honesty and courage. He knew my practice inside out: all of my thoughts and every one of my gestures.
The fifth part of Grace Schwindt’s ‘Portfolio’ will be available tomorrow.
Image may be NSFW.Clik here to view.
