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Rye Dag Holmboe
Rye Dag Holmboe is a writer and PhD candidate in History of Art at University College, London. He has recently co-authored and co-edited the book JocJonJosch: Hand in Foot, published by the Sion Art Museum, Switzerland (2013). He has recently edited Jolene, an artist's book which brings together the works of the poet Rachael Allen and the photographer Guy Gormley, which will be published later this year. His writings have appeared in The White Review, Art Licks and in academic journals.

Articles Available Online


Art and its Functions: Recent Work by Luke Hart

Art

June 2016

Rye Dag Holmboe

Art

June 2016

Luke Hart’s Wall, recently on display at London’s William Benington Gallery, is a single, large-scale sculpture composed of a series of steel tubes held...

Art

February 2015

Filthy Lucre

Rye Dag Holmboe

Art

February 2015

White silhouettes sway against softly gradated backgrounds: blues, purples, yellows and pinks. The painted palm trees are tacky and...

We’re in Try Thai, a two-storey cocktail-pink restaurant I discovered a few years ago when visiting my sister who was studying in Manchester Following our respective readings at Manchester Literature Festival, I convince Terrance Hayes, Victoria Adukwei Bulley, Kayo Chingonyi and Sarah Perry to follow Google Maps from Central Library through a few dark alleyways to Chinatown in search of ‘this great Thai place I know’   Have you ever confidently remembered the food somewhere being great but suddenly − in certain company − you worry the whole walk there they’ll be like ‘great food?’ and forever you will be known as the one who makes bad dinner suggestions…?   Terrance Hayes: I refuse to answer any serious questions   Rachel Long: I’ll have to make all this up then   TH: Yeah, make it up I’d be more interested in reading a made-up interview than a real one   RL: OK Why do you wear two watches?   TH: I’m a timelord Umm, my daughter got me this one [left wrist] when she was seven, and then when the iWatch was invented they all got together and got me this [right wrist] So two watches   Victoria Adukwei Bulley: Whereabouts do you live in New York?   TH: In the village Pretty much NYU, but a little further out – in faculty housing   RL: So, you’re like roomies with Sharon Olds?   TH: Yeah, we’re in the same building I was in the elevator the other day and I felt this… like I felt rather than saw her Sharon Olds is a Scorpio too, so I could just feel this energy, this ball of pink and white Her white hair Yeah, she’s in the building Last time I saw her she was talking about cats, and spiders I can tell you a story like that about Zadie [Smith] too… It was my first time meeting her in person I knew who she was, of course, but as soon as I met her I was like… she’s a Scorpio   RL: Is this the wine list? Who’s for wine? [Deciding chatter We decide on white A Gavi] You’re sure no wine?   TH: Only tequila Expensive so no risk of hangover tequila

Contributor

August 2014

Rye Dag Holmboe

Contributor

August 2014

Rye Dag Holmboe is a writer and PhD candidate in History of Art at University College, London. He has...

feature

October 2012

Pressed Up Against the Immediate

Rye Dag Holmboe

feature

October 2012

The author Philip Pullman recently criticised the overuse of the present tense in contemporary literature, a criticism he stretched...

The author Philip Pullman recently criticised the overuse of the present tense in contemporary literature, a criticism he stretched to the use of handheld cameras in film Both made him feel ‘claustrophobic’, he wrote, ‘always pressed up against the immediate’   Pullman’s article was a little sweeping and you may disagree with some of its conclusions, which suggested that an author’s reliance on the present tense was often the sign of an inability to handle narrative and that, correspondingly, the use of a hand-held camera was no more than a facetious way of achieving a sense of ‘authenticity’ But I think his uneasiness touched upon some broader issues that might be linked not only to the stylistic or formal inadequacies of individual authors and directors but also, via the problematic relation between narrative discourse and historical representation, to our troubled experience of contemporary history   I am thinking here in particular of those jerky videos which in many ways have defined our perception of the so-called Arab Spring These highly pixelated, out-of-focus images seem to play upon a convention often associated with the ‘documentary’: the more grainy and imperfect they are, the more they appear to be the signifiers of authenticity Shot in ‘real time’, these images seem ideologically neutral, the markers of documentary truth, positing a kind of metonymic relation between the representations produced by low-tech recording devices and the experiential truths of the socially disempowered What we encounter is an inverted epistemological hierarchy where clarity (read ideology) is subordinate to roughness (read truth) The events are recorded as and how they appear And when we see them no one speaks The events seem to recount themselves   Yet the seemingly self-evident correlation between roughness, authenticity and social disempowerment conceals a deeper, more contradictory relation, which the artist Hito Steyerl has termed ‘the uncertainty principle of modern documentarism’ For it is also often the case that the more immediate these forms of documentation become, the more unintelligible they are and the less there is for us to see Steyerl gives only one example – a fuzzy film shot by an American general with his
Existere: Documenting Performance Art

feature

September 2012

David Gothard

Jo Melvin

John James

Rye Dag Holmboe

feature

September 2012

The following conversation was held at the Institute of Contemporary Arts, London, in May 2012. The event took place almost a year after a...
Gabriel Orozco: Cosmic Matter and Other Leftovers

Art

March 2011

Rye Dag Holmboe

Art

March 2011

‘To live,’ writes Walter Benjamin, ‘means to leave traces’. As one might expect, Benjamin’s observation is not without a certain melancholy. Traces are lost...

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poetry

Issue No. 11

Poems from [---] Placeholder

Rob Halpern

poetry

Issue No. 11

Obscene Intimacy My soldier was found unresponsive restrained In his cell death being due to blunt force injuries To...

fiction

January 2014

Textile

Orly Castel-Bloom

TR. Dalya Bilu

fiction

January 2014

It was not only avoiding thoughts of home that helped the good sniper to carry out his mission as...

fiction

March 2012

Swimming Home

Deborah Levy

fiction

March 2012

‘Each morning in every family, men, women and children, if they have nothing better to do, tell each other their...

 

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