World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Book shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
$50.00 - Sold
Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism’s retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer’s endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.
In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk’s social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.
Artists surveyed include:
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lütticken, John Miller, Agné Narušyté, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev
About the Author
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945–1968 (MIT Press)
From the "Documents of Contemporary Art" series.
2016, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - In stock -
Issue #104 of TzK examines a key protagonist of the modern age: the individual. As our cover suggests, there is an inherent tragedy to this being who, however autonomous, is beholden to a program that it must internalize at the price of suffering enormously. This issue takes up the individual not as a fixed subject, but as a mode of the self that shifts according to the current form of governance, asking how 15-some years of the "new spirit of capitalism" has shaped her – as an artist, as an entrepreneur, as a "productive" contemporary self.
ISSUE NO. 104 / DECEMBER 2016 “THE INDIVIDUAL”
TABLE OF CONTENTS
INVEST YOURSELF! / Wendy Brown in conversation with Isabelle Graw
FROM THE ONE TO THE MANY
CAN THE ENTREPRENEURIAL SELF TWEET? / An interview with Ulrich Bröckling
BUFFERING OF THE SELF: GUISING IN THE MID-’00S / Storm van Helsing, André Rottmann, Sarah Nicole Prickett, Reena Spaulings, @lilinternet, i.i.i., Luther Blissett -- on -- Luther Blissett, JT LeRoy, Reena Spaulings, @lonelygirl15, Claire Fontaine, An Hero, Lee Williams, and Strom van Helsing
SPEECH GESTURES / Notes on the individual and the socialization of language after Gutenberg
PRODUCING INDIVIDUALITY / The Artist among his Contemporaries
I’M NOT PUNK / Alex Israel in conversation with Texte zur Kunst
FEEDBACK FÜR BLINDE FLECKE / Karin Gludovatz über „Jenseits des Spiegels. Das Sehen in Kunstgeschichte und Visual Culture Studies“ von Susanne von Falkenhausen
WORLD WIDE WEB / Anthony Vidler on Felicity D. Scott’s “Outlaw Territories”
LIEBE ARBEIT KINO
LANGSAMER ABSCHIED / Esther Buss über Albert Serras „La mort de Louis XIV“
DAS SICH SELBST TRÄUMENDE INTERNET / Sulgi Lie über Werner Herzogs „Lo and Behold. Reveries of the Connected World“
SHARING ANGST / Gaby Tront on Anne Imhof's "Angst II" at Hamburger Bahnhof, Berlin
Mikael Brkic on Alex Israel at the Astrup Fearnley Museum, Oslo / Steven Warwick on Morag Keil at Eden Eden, Berlin / Hanna Magauer über Dana Schutz bei Contemporary Fine Arts, Berlin / Tonio Kröner über Amelie von Wulffen in der Galerie Barbara Weiss, Berlin / Kari Rittenbach on Margaret Lee at Jack Hanley Gallery, New York / Susanne von Falkenhausen über „Die zu sein scheint, die bin ich.“ Birgit Jürgenssen, Cindy Sherman, Katharina Sieverding und Francesca Woodman in der Galerie Thomas Schulte, Berlin
INDIVIDUELLER ORIENT / Diedrich Diederichsen über Michael Buthe im Haus der Kunst, München
ÜBERBLENDUNGSVERHÄLTNISSE / Sabeth Buchmann über Ellen Cantor im Künstlerhaus Stuttgart
… MY MERE SELF / Rachel Haidu on Kai Althoff at the Museum of Modern Art, New York
DIE KUNST DER STUNDE / Susanne Leeb über Kader Attia im Museum für Moderne Kunst, Frankfurt / M.
RUBY STERLING ZEIGT STERLING RUBY / Tanja Widmann und Inka Meißner über Sterling Ruby im Winterpalais Wien
DAS VIRTUELLE IM PHYSISCHEN / Hanne Loreck über Katrin Mayer und Eske Schlüters in der Kunsthalle Lingen
WHY BOTHER WITH SHOW BUSINESS? / Bosko Blagojevic on Antek Walczak at Real Fine Arts, New York
WERKE / Nikola Dietrich über Karl Holmqvist und Klara Lidén im Kunstverein Braunschweig
BIRD OF PARADISE / Frank Wagner (1958–2016) in the words of Julie Ault
COSIMA VON BONIN
2016, English / French
Softcover, 150 pages, 240 x 175 mm
Published by May Revue / Paris
$29.00 - In stock -
May no.16 focuses on recent feminist debates actualizing the history of Italian feminist collectives of the 1970s and 1980s. The issue is a continuation of the issue 4 of May, which reprinted and translated a selection of texts from the time. The issue’s touchstone is the work of writer and co-founder of Rivolta Femminile, Carla Lonzi. Throughout her life, Lonzi refused the power of a masculine creativity that exploits the reproductive, supportive activity of women. The texts assembled in May no.16 bring that refusal to contemporary light.
Weed and the Practice of Liberty
The Paradox of Self-Abolition: a Mapping Exercice
Presence and Absence
Narrative Without End
Anna De Filippi
An Exercise in the Practice of affidamento
Alex Martinis Roe
On Marinella Pirelli’s Films
Human Strike Between Foreignness and Responsibility
Introduction to Double Bind
Citadelle. On Marie Angeletti at Édouard Montassut, Paris
On Mathieu K. Abonnenc, Lotte Arndt, Catalina lozano (eds), Colonial Collect and Affect, Crawling Doubles
A World Exactly Like This One. On Credits by Hannah Black
Get Some Rest Pam, or Jason Bourne comes of age. On Paul Greengrass’ film, Jason Bourne
Aggregation or Mere Dislocation. On the 9th Berlin Biennale and “Painting 2.0: Expression in the information Age,” mumok, Vienna
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
$32.00 - In stock -
Texts by Giorgio Agamben, Claire Fontaine, Gilles Deleuze, Julius Gavroche, Paul Lafargue, Vanessa Joan Müller, Cristina Ricupero, Tereza Stejskalová, Enrique Vila-Matas
“New Ways of Doing Nothing,” a group exhibition that took place at Kunsthalle Wien in 2014, devoted itself to artistic production that opposes activity and instead gives an affirmative slant to forms of doing nothing or refraining—a major influence being the titular character of Hermann Melville’s “Bartleby the Scriviner: A Story of Wall Street.” The book presents the displayed works and artists, but also continues the process that led to the exhibition. Included along with a conversation between the curators is a text collage of reprints and excerpts that introduces those artists and thinkers who, in the words of Bartleby, “prefer not to.”
Featuring work by Robert Breer, Alejandro Cesarco, Étienne Chambaud, Claire Fontaine, Natalie Czech, Oskar Dawicki, Edith Dekyndt, Mathias Delplanque, Heinrich Dunst, Gardar Eide Einarsson, Marina Faust, Ryan Gander, Lasse Schmidt Hansen, Julia Hohenwarter, Karl Holmqvist, Sofia Hultén, Jiří Kovanda, Rivane Neuenschwander, Georges Perec / Bernard Queysanne, Superflex, Mario García Torres
Vanessa Joan Müller, Cristina Ricupero, Nicolaus Schafhausen (Eds.)
Copublished with Kunsthalle Wien
Design by Anna Haas
Softcover, 64 pages, 18.7 X 26 cm
Published by Archive Books / Berlin
$20.00 - Sold
The Exhibitionist #12
Journal on Exhibition Making
Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
Exhibitions are a social and collective form. Whether the products of a single artist or of a group, they gather together artworks (or objects, projects, residues) and construct from them an image of a social field. Just as understanding an exhibition involves thinking about the relations that exist among, and engender the possibility of imagining, that field, no less are exhibitions produced by a group. Beyond the artists and the exhibition maker(s) involved, an exhibition radiates from an expansive network: conservators, shippers, installers, writers, editors, designers, administrative types of all sorts, interns, guards, funders, promoters, and so on. Exhibitions are, furthermore, perceived by an audience or a public—another group—who are themselves internally divided and classed, cohesive or cacophonous....
Response I: Artists and curators
Fia Backström and Anthony Huberman
Re: family dynamics
Anne Ellegood and Kerry Tribe
Long Term Relationship
Claire Fontaine and Jens Hoffmann
Artistic Bitches and Curatorial Bastards
Inés Katzenstein and Juan José Cambre
Response II: Archival
Introduced by Liz Glass
Dear King Harry
James Lee Byars: Correspondence with Harald Szeemann (1988)
Triple Candie: Let the Artists Die
Emiliano Valdés: Who Has the Power?
Nontobeko Ntombela: Remastered
Daniel Birnbaum: Hijacking the Situationists
Slavs and Tatars: The Splits of the Mind, If Not the Legs
Rachel Rose: Artist, Curator, Meaning
An Illustrated Bibliography of the exhibitionist, Issues IX–XII
2016, English / Albanian
12“ vinyl LP and catalogue in gatefold cover, 24 pages, 31 x 31 cm
Published by Sternberg Press / Berlin
$30.00 - In stock -
I Have Left You the Mountain
Edited by Simon Battisti, Leah Whitman-Salkin, Åbäke
With contributions by Etel Adnan, Mourid Barghouti, Michel Butor, Claire Fontaine, Yona Friedman, Anri Sala, Michael Taussig, Yanis Varoufakis, Ornela Vorpsi, Finn Williams; the singers of Fier, Vlorë, Himarë, and Tirana
“I Have Left You the Mountain,” published on the occasion of the Albanian Pavilion at the 15th International Architecture Exhibition of La Biennale di Venezia, presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.
A living art form in step with the generations of migration and transition, “singing migration” has been a core part of processing departure, longing, and return. The Albanian Pavilion is a space of collective listening; of “individuals in company.”
“I Have Left You The Mountain” initiates a conversation about the urbanism of displacement, projecting the Albanian case onto an international stage, with the express intention to transmit that dialogue and its speculations back into Albania.
The singers of Fier: Petrit Canaj, Llazar Dumi, Kastriot Halihoxha, Nesim Meno, Muharrem Mezani, Guri Rrokaj, Fatmir Tahiraj, Shaban Zeneli; the singers of Vlorë: Adriatik Cenko, Viktor Gjoka, Sinan Gjoleka, Vendim Kapaj, Piro Latifaj, Dejrim Mustafaraj, Trifon Malaj; the singers of Himarë: Luljeta Çipa, Valentina Gerdhuqi, Violeta Gerdhuqi, Zaharulla Koka, Polite Merkuri, Eglanda Prifti, Vojsava Zenelaj; the singers of Tirana: Dhurim Ballo, Sotir Ballo, Nazo Celaj, Trifon Golemi, Hyso Xhaferraj
Published on the occasion of the Albanian Pavilion at the15th International Architecture Exhibition of La Biennale di Venezia.
Design by Åbäke
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
ISSUE NO. 100
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
MORE MANNERISM / Ruth May and Jan Molzberger
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
POST-INTERNET: THE NEW ORDER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
PAMELA M. LEE
TOWARD A CANONIC FREEDOM
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
GREAT & SMALL
CANON OF EXISTENCE, ETHICS OF THE BREAK
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015) by Tim Griffin
PETER FISCHLI/DAVID WEISS
Hardcover (cloth-bound), 172 pages, 20 × 25 cm
Published by Standard Books / Oslo
$54.00 - Sold
This cloth-bound volume documents the first seven years (2005-2012) of STANDARD (OSLO), a contemporary art gallery in Norway, at their first location of Hegdehaugsveien 3. During which time work was exhibited by Matias Faldbakken, Kim Hiorthøy, Michaela Meise, Johanna Billing, Claire Fontaine, David Lieske, Cory Arcangel, Martin Boyce, Gardar Eide Einarsson, Tauba Auerbach, Torbjørn Rødland, Josh Smith, Marius Engh, Emily Wardill, Franz West, Sister Corita Kent, Edvard Munch, Franz West, Alex Hubbard, Hans-Peter Feldmann, Oscar Tuazon, Raymond Pettibon, Lucy McKenzie, Olaf Breuning, Roe Ethridge, Uwe Henneken, Ricky Swallow, Richard Prince, Adam McEwen, Camilla Løw, Jutta Koether, Dan Rees, Fredrik Værslev, and many more.
Hardcover (w. dust jacket), 224 pages, 9 x 14.5 cm
1st Edition of 2000,
Published by Dent De Leone / London
$37.00 - In stock -
Artists’ Cocktails by Ryan Gander - A compendium of artists’ cocktails
with Åbäke, Allora & Calzadilla, Spencer Anthony, Cory Arcangel, Art & Language, Jesse Ash, Mary Aurory, Fiona Banner, David Batchelor, Justin Beal, Jacqueline Bebb, Vanessa Billy, Pierre Bismuth, Martin Boyce, Pavel Büchler, Dinos Chapman, Steve Claydon, Keren Cytter, Jeremy Deller, Joseph del Pesco, Anthony Discenza, Rose Duvall, Sean Edwards, Vivi Enkyo, Aston Ernest, Winnie Ernest, Abbé Faria, Claire Fontaine, Simon Fujiwara, Michael Fullerton, Martino Gamper, Ryan Gander, Mario Garcia Torres, Tom Gidley, Liam Gillick, Matt Golden, Rodney Graham, Irwin Green, Joseph Grigely, Sigurdur Gudmundsson, Drew Heitzler, Anton Henning, Mark Hix, The Hut Project, Pierre Huyghe, Taka Izumi, Christian Jankowski, Alan Kane, Jacob Kassay, Gabriel Kuri, Tim Lee, Gabriel Lester, Benoît Maire, Raimundas Malašauskas, Kris Martin, Christian Matthiessen, Alan Michael, Haroon Mirza, Jonathan Monk, Jody Monteith, Sarah Morris, Olivier Mosset, Shahryar Nashat, John Henry Newton, Carsten Nicolai, Olaf Nicolai, Nishikawa, David Noonan, Roman Ondák, Pratchaya Phinthong, Tobias Rehberger, David Renggli, Amanda Ross-Ho, Eran Schaerf, David Shrigley, Lucy Skaer, Bob and Roberta Smith, Nedko Solakov, Haim Steinbach, Santo Sterne, Jack Strange, Rirkrit Tiravanija, Mark Titchner, Santo Tolone, Simon Turnbull, Uri Tzaig, Francis Upritchard, Yonatan Vinitsky, Carl Michael von Hausswolff, Lawrence Weiner, Terrance E. White, Bedwyr Williams, Jesse Wine, John Wood & Paul Harrison, Cerith Wyn Evans...
“I have something for you, I’ll send it over. You know for four years now I have been trying to propagate shiso and it hasn’t grown. I tried everything: freezing and thawing the seeds, leaving them in the dark for a year, different temperatures and humidity… The seeds Taro sent me in February came up no problem, just in fine soil with a sheet of paper over the pot outside, no special equipment or lights. Crazy. The kitchen garden at home is now being taken over by green shiso plants with huge leaves everywhere. We have a glut, as the English call it. Fearful of it not reseeding and growing next year I’ve been stripping the leaves and producing shiso sugar syrup and shiso-infused vodka. The vodka is unbelievably good! I thought of proposing it to ABSOLUT as a new flavour. We’ll see. Anyway, I have a bottle for you! ”
Extract from: [Extracts from… ] A conversation between Ryan Gander and Masako Hosoi
Edited by Ryan Gander, Phil Mayer with editorial assistance by Holly Featherstone, Barnie Page and Anna Stoppa.
Design by Åbäke with Delphine Bourit.
Softcover, 128 pages, 17 x 21 cm
Published by MUMA / Victoria
$20.00 - Sold
Publication to accompany the exhibition "Reinventing The Wheel: The Readymade Century", 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.
Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.
Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-fordism and other concerns, particularly among contemporary Australian artists.
Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.
Carl Andre, Hany Armanious, Nairy Baghramian, Ian Burn, John Cage, Christo & Jeanne-Claude, Tony Cragg, Michael Craig-Martin, Martin Creed, Aleks Danko, Julian Dashper, Simon Denny, Marcel Duchamp, Sylvie Fleury, Ceal Floyer, Claire Fontaine, Gilbert & George, Félix González-Torres, Agatha Gothe-Snape, Greatest Hits, Matthew Griffin, Richard Hamilton, David Hammons, Matt Hinkley, Lou Hubbard, Barry Humphries, Jeff Koons, Joseph Kosuth, Louise Lawler, Klara Lidén, Andrew Liversidge, James Lynch, Robert MacPherson, Rob McKenzie, Callum Morton, John Nixon, Meret Oppenheim, Joshua Petherick, Kain Picken, Rosslynd Piggott, Man Ray, Scott Redford, Stuart Ringholt, Peter Saville, Charlie Sofo, Haim Steinbach, Ricky Swallow, Masato Takasaka, Peter Tyndall, Alex Vivian, Danh Vo, Andy Warhol, and Heimo Zobernig.
Max Delany (former MUMA director), Charlotte Day, Francis E. Parker, and Patrice Sharkey.With texts by Rex Butler, Charlotte Day, Francis Parker, Patrice Sharkey, and a never before published text by Thierry de Duve.
Softcover, 456 pages (115 color and 30 b/w ills.),15.5 x 22 cm
Published by Sternberg Press / Berlin
$40.00 - In stock -
The essays in this collection were written in the first decade of the new millennium by the critic, editor, and curator Chantal Pontbriand. Pontbriand examines themes of being-in-common in today’s world and their relation to the development of art practices. As these practices are implemented, other ways of seeing, understanding, and making appear. Contemporaneity functions as a flow, a space-time being that cannot be fixated. The body is in the forefront—a thermometer of the world lived in and with, marked by dynamics of change and sharing.
The work of Claire Fontaine, Douglas Gordon and Philippe Parreno, Ion Grigorescu, Carsten Höller, Mike Kelley, Sigalit Landau, Rabih Mroué, Yvonne Rainer, Rirkrit Tiravanija, and Jeff Wall, among other artists, is examined in this book, together with Pontbriand’s insights into the seminal issues stirring the field of contemporary art.
Design by Agnès Dahan
Softcover, 146 pages, 13 x 20.5 cm
Published by Halmos / New York
$15.00 - Sold
D.A.F. de Sade with contributions by Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
Translation by Robin Mackay
Edited by Erik Wysocan
Weep no more, citizens; they breathe, these celebrated men for whom we cry; our patriotism reanimates them...
Presented in honor of Marat and Le Pelletier, "Citizen Sade" wrote this memorial address at the height of violence during the French Revolution, just after the start of the Reign of Terror. The text, effusive and cloyingly patriotic, brings to question Sade's own political position – a provocative impulse all the more remarkable given the addresses audience: the gathered Section des Piques, amongst the most hardline Jacobin districts of Paris. Though frequently cited and made infamous as the inspiration for Peter Weiss' influential work of avant-garde theater Marat/Sade, the text itself has remained obscure outside of France.
Presented in English for the first time, this new translation by Robin Mackay serves as the historical foundation for a collection of artists' writings. Included are Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
Softcover, 168 pages, 215 x 273 mm
Published by Walther König / Köln
$44.00 - Sold
In this publication Claire Fontaine show both old and new works that deal with economic structures as a closed and irrational system that is intent on defending the status quo using any necessary means and at any price. The artist collective Claire Fontaine was formed in Paris in 2004. The name is taken from a well-known French manufacturer of school notebooks and writing paper. Claire Fontaine describe themselves as "ready-made-artists" who work with existing forms and materials. They analyse the crisis of individuality in contemporary art using video, installation, sculpture and text, denouncing the passivity of politics in the process.
Softcover, 144 pages, offset, 130 x 200 mm