Issue 238
October 2023
‘For me, to be aware of yourself is to be aware that you can be in the chaos and can still sustain yourself.’ – Rirkrit Tiravanija

In the October issue of frieze, associate editor Marko Gluhaich profiles Rirkrit Tiravanija ahead of the artist’s first US survey at MoMA PS1, New York, and Isabel Waidner delves into the captivating world of Nicole Eisenman, coinciding with Eisenman’s retrospective at London’s Whitechapel Gallery.

Profile: Rirkrit Tiravanija
‘I’m never not at home because everywhere is home.’ On the occasion of Tiravanija’s major survey in New York, Gluhaich considers the transgressive work of the artist who brought cooking inside the gallery.

1,500 Words: Nicole Eisenman
‘In the writing process, preliminary influences coalesce, become transformed and emerge as something surprising and original.’ The novelist Isabel Waidner on the influence of Eisenman’s 1993 painting Bambi Gregor on their latest book, Corey Fah Does Social Mobility (2023).

Also featuring
Rhea Dillon, who recently released a written companion to her first opera, Catgut (2021), speaks to Tiona Nekkia McClodden and Eva Díaz considers the radicality of Marisol’s art. Plus, Rye Dag Holmboe, Hettie Judah, Princess Julia, Daisy Lafarge and Jack O’Brien celebrate Sarah Lucas in honour of her survey at Tate Britain, London.

Columns: Notions of Home
Allie Biswas examines the photography of Farah Al Qasimi, and associate editor Vanessa Peterson interviews Igshaan Adams about how his family participates in his art-making.Ghislaine Leung, a nominee for the 2023 Turner Prize, shares her thoughts on motherhood, caregiving and labour. Katherine Hubbard discusses working with her ageing mother. Plus, Jorie Graham and Geoffrey G. O’Brien share their insights on families in the Anthropocene.

Finally, Lynne Tillman on Nan Goldin’s Memory Lost (2019–21), a slideshow recounting a life lived through a lens of drug addiction. Plus, Going Up, Going Down charts what’s hot and what’s not in the global art world, and we bring you the latest iteration of our Lonely Arts column.