Issue 86
October 2004

In the October issue of frieze Bruce Nauman talks to Joan Simon about his commission for the Turbine Hall at Tate Modern, poetry, architecture, sound and language: ‘Raw Materials… it’s the rhythms and textures of the texts and how they relate to each other, and how they make their own new meaning.' Also Richard Prince fuses fact and fiction in his personal response to Bruce Nauman’s work.

Tom Morton considers Urs Fischer’s work as capable of transforming even the ugliest of ducklings into a weirdly beautiful swan.

Jennifer Higgie discusses Lisa Yuskavage’s paintings of near hallucinogenic visions of femininity.

Jonathan Romney explores the appropriation of experimental film techniques by mainstream cinema.

In our latest City Report, Tirdad Zolghadr visits Tehran to observe a flourishing contemporary scene, Kianoosh Vahabi provides a local perspective and Negar Azimi explores the second-hand bookstalls of the city.

Also featured: Ryan Gander by Mark Beasley; Tommy Stockel by Lars Bang Larsen; Ernesto Caivano by Peter Eleey and Anselm Reyle by Kirsty Bell.

From this issue

Marc Camille Chaimowicz' work is intoxicated by longing; yearning for a place never lived in but rather dreamt of or briefly tasted

BY Dan Fox | 10 OCT 04
BY Andrew Hunt | 10 OCT 04
BY Max Andrews | 10 OCT 04
BY Amanda Coulson | 10 OCT 04
BY Ossian Ward | 10 OCT 04
BY Dominic Eichler | 10 OCT 04
BY Andrew Hunt | 10 OCT 04
BY Jenni Sorkin | 10 OCT 04
BY Lisi Raskin | 10 OCT 04
BY Elena Filipovic | 10 OCT 04
BY Anna Starling | 10 OCT 04
BY Will Bradley | 10 OCT 04
BY Gabriel Coxhead | 10 OCT 04
BY Eve Meltzer | 10 OCT 04
BY Nicole Scheyerer | 10 OCT 04
BY Tom Morton | 10 OCT 04
BY Megan Ratner | 10 OCT 04
BY Neil Mulholland | 10 OCT 04
BY Tom Morton | 10 OCT 04
BY Dominic Eichler | 10 OCT 04
BY Dominic Johnson | 10 OCT 04

An interview with Bruce Nauman about his commission for the Turbine Hall at Tate Modern, poetry, architecture, sound and language

BY Joan Simon | 10 OCT 04
City Report

After the 1979 revolution art in Iran seemed to have no future beyond what was considered compatible with the new Islamic orthodoxy. But today, counter to clichéd expectations that only expatriates could produce interesting contemporary work, a lively contemporary art scene flourishes in Tehran. Three views.

10 OCT 04

Mainstream films are increasingly employing narrative fragmentation and non-linearity – attributes more commonly associated with experimental cinema

BY Jonathan Romney | 10 OCT 04

How is geometry susceptible to meaning? Is time travel possible? In which direction does space curve? How do journeys to other dimensions appear to the naked eye?

10 OCT 04

‘More and more often there is embarrassment all around when the wish to hear a story is expressed. It is as if something that seemed inalienable to us, the securest among our possessions, were taken from us: the ability to exchange experiences.’ Walter Benjamin, ‘The Storyteller’, Illuminations (1923)

10 OCT 04

These works hover uncertainly in the present

10 OCT 04

Identity is something you perform – a performance restrained by norms and expectations

10 OCT 04

In Lisa Yuskavage’s paintings an ever-present edge of uncertainty articulates a near hallucinogenic vision of femininity

10 OCT 04

Urs Fischer’s work is characterized by happy accidents – slips of the hand and mind that can transform even the ugliest of ducklings into a weirdly beautiful swan

BY Tom Morton | 10 OCT 04

What images keep you company in the space where you work? The outside of the inside.

08 OCT 04

In June this year a few hundred people gathered in a terraced field in a remote part of Arcadia in Greece to witness the world premiere of the opening cycles of Gregory Markopoulos' 80-hour film Eniaios (1947-91)

BY Mark Webber | 01 OCT 04