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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...

Nothing, it seems, falls outside Maggie Nelson’s field of inquiry The author of four books of poetry and five books of non-fiction, she extends the possibilities of both forms, refusing to settle for, or into, either Unsettling definitions and reworking categories is not only the modus operandi of her writing, but also its subject matter Bluets (2009) is a whole book of what might be called poetry, about the colour blue, which is also, of course, about other things: desire, heartbreak, loss She has written two books about the murder of her aunt, Jane: A Murder (2005), which thinks through the trauma of the event, and The Red Parts (2007), a more documentary account of criminal and social justice, that accounts for new evidence that emerged while writing the first   The Art of Cruelty (2011) is a study of the avant-garde that rethinks the boundaries between art and life that much of twentieth century art worked so hard to perform By examining her own simultaneous attraction and repulsion to works of art that engage with cruelty, she makes a cogent case for both looking at, and turning away, from violence It is this kind of response – a critical model that locates value not in argument, or in partisan positions, but in receptivity, sensitivity and tenderness, that Nelson gives us a new kind – the right kind – of language through which to think both the messiness of life and the possibilities of art   Her most recent book, The Argonauts, is a love story, which is also a story about motherhood, about queerness and representation It’s a story that exists in transitional space, in the possibilities of love, the inevitable failures of intimacy, the limits of identity, the paradoxes of queer futurity and in paradigms that are constantly undergoing revision as their context shifts It explores not only what kinds of love we have to give, but what family-making (a word she hates) might mean and what good-enough mothering might entail Most of all, it considers what kind of transgressions are worthy of thinking about, what kinds of freedom we need

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...

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October 2012

Pressed Up Against the Immediate

Rye Dag Holmboe

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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

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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...

READ NEXT

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January 2014

Afterword: The Death of the Translator

George Szirtes

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January 2014

1. The translator meets himself emerging from his lover’s bedroom. So much for fidelity, he thinks. 2. Je est...

Art

May 2014

The Interzone and Dexter Dalwood

Sarah Hegenbart

Dexter Dalwood

Art

May 2014

‘Burroughs in Tangier’ (2005) has captivated me ever since its display in the 2010 Turner Prize Exhibition. The work...

Interview

Issue No. 1

Interview with Paula Rego

Ben Eastham

Helen Graham

Interview

Issue No. 1

Dame Paula Rego introduces me into her North London home with a crooked smile and a plate of biscuits....

 

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