World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme 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
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"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.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
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.”
“Food Bazaar”
“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".
John Nixon
"Archive"
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.
"Habitat"
at Minerva, Sydney (organised 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
Press Release:
“...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 Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
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
"Aesthetic Suicide"
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.
2024, English
Softcover, 152 pages, 18 x 12 cm
Published by
Mudam / Luxembourg
Sternberg Press / Berlin
$42.00 - In stock -
Edited by Bettina Steinbrügge. Contributions By Cory Arcangel, Karen Archey, Motoko Ishibashi, Ingrid Luquet-Gad, Clémentine Proby, Fabian Schöneich, Stephanie Seidel, Bettina Steinbrügge, Sarah Johanna Theurer
In the span of a short yet exceptionally prolific career, Luxembourgish artist Michel Majerus (1967–2002) transgressed the well-worn rules of painting to capture the influence of digital media and pop culture during the 1990s and early 2000s.
Majerus’s large-scale paintings and installations—characterized by the artist’s ‘sampling’ and collaging of an eclectic repertoire of imagery and text borrowed from art history, video games, commercials, and electronic music—resonate with the rapid expansion of globalized consumer culture and digital technology.
This book collects and preserves the talks and lecture-performances held during a symposium on Majerus at Mudam, the contemporary art museum in Luxembourg. The convening considered the relevance of Majerus’s reflections today and discussed the dimensions of his legacy—investigating his influence on the practices of the digitally native artists, curators, and researchers who came after him.
The symposium was the first chapter of a program dedicated to Majerus’s work at the museum and was followed by the exhibition SINNMASCHINE, curated by Bettina Steinbrügge. Rather than a retrospective, the exhibition examined Majerus’s working methods by displaying never-before-exhibited archival material, including Majerus’s drawings and writings from his expansive collection of notebooks. This publication bridges the exhibition and the symposium’s reflections, featuring images of Majerus’s work and notebooks alongside contributions by Cory Arcangel, Karen Archey, Motoko Ishibashi, Ingrid Luquet-Gad, Clémentine Proby, Fabian Schöneich, Stephanie Seidel, Bettina Steinbrügge, and Sarah Johanna Theurer.
what looks good today may not look good tomorrow: The Legacy of Michel Majerus is the first book in the Mudam Series. This series is an edited collection of interventions, symposiums, and lectures by artists, critics, writers, curators, art historians, and thinkers that have taken place at Mudam, the contemporary art museum in Luxembourg. Each volume is dedicated to a specific artist or theme, following the museum’s exhibition program. The series is meant as a collection of working documents that open up a dialogue beyond institutional walls—a gentle nod to books still being the greatest of meeting places. Mudam Series is conceived and edited by Bettina Steinbrügge and Mudam’s editorial team.
2008, English
Softcover, 255 pages, 19.5 x 12.6 cm
1st Edition, Out of print title / used / very good
Published by
Film and Video Umbrella / UK
$120.00 - In stock -
"1/ 210 possible first lines/openings to a book about the relationship between the end of the nineteenth century and the beginning of the twenty-first century ..."
Produced in a limited edition in 2008 by New York artist Cory Arcangel in collaboration with leading design duo Dexter Sinister (David Reinfurt and Stuart Bailey), this lovely, now very collectible artist's book was published as an accompaniment to Arcangel’s installation, A Couple Thousand Short Films About Glenn Gould, commissioned by Film and Video Umbrella.
The book was released in an edition of 1106 unique copies – this figure representing the total number of separate video clips that Arcangel used in putting together the double-channel video installation 'A couple thousand short films about Glenn Gould'. (A different image of one of the many musical instruments that feature in the piece appears on the first inside page).
Extemporising around the theme of that project, while highlighting the artist’s innovations with digital technology and his experiments with sound, the book features texts by writer and music critic Paul Morley, curator Steven Bode, and an interview/Q&A between Arcangel and curator Michael Connor.
Published by Film and Video Umbrella and funded by Arts Council England, with additional support from Max Wigram Gallery and London Newcastle.
Very Good copy with some light page edge tanning, and light shelf wear.
2021, English
Softcover, 592 pages, 12 x 17.8 cm
Published by
Blank Forms / New York
$50.00 - Out of stock
The collection of previously unpublished interviews and extended versions of Alan Licht's famous conversations with figures in the American art and music scene.
For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York's art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine The Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines.
Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously un-transcribed public exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee also included here, was suitably impressed.
Alan Licht (born 1968) is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Lovechild and in the experimental groups the Blue Humans and Text of Light. He has released numerous solo guitar albums and duo and trio records of improvised music, collaborating with avant-garde musicians such as Jim O'Rourke, Loren Mazzacan Connors, Rudolf Grey, Lee Ranaldo and Aki Onda.
Introduction by Jay Sanders. Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, Karl Precoda (Dream Syndicate), Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Stephanie Oursler, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, Georgia Hubley and Ira Kaplan (Yo La Tengo).
2021, English
Softcover, 264 pages, 20 x 13 cm
Published by
Sternberg Press / Berlin
$40.00 - Out of stock
An examination of the relationship between art and cybernetics and their intersections, with works that uses the powerlessness of art.
Cybernetics of the Poor examines the relationship between art and cybernetics and their intersections in the past and present. From the late 1940s on, the term cybernetics began to be used to describe self-regulating systems that measure, anticipate, and react in order to intervene in changing conditions. Initially relevant mostly in the fields of administration, planning, criminology, and early ecology, under digital capitalism cybernetics has since become an economic factor (particularly in the realm of big data). In such a cybernetic totality, art must respond to a new situation: a cybernetics of the poor.
Cybernetics of the Poor presents work that uses the powerlessness of art—its poverty—vis-à-vis the cybernetic machine to propose countermodels: work that is both recent and historical by artists who believed in cybernetics as a participatory, playful practice or were pioneers in delineating a counter-cybernetics. How much of what Thomas Pynchon termed “counterforce” exists within art when it is conceived as a cybernetics of the poor?
Texts by Sabeth Buchmann, Mercedes Bunz, Diedrich Diederichsen, Oier Etxeberria, Harun Farocki
With artistic contributions by Agency, Ana De Almeida, Alicja Rogalska & Vanja Smiljanić, Eleanor Antin, Cory Arcangel, Elena Asins, Paolo Cirio, Coleman Collins, Hanne Darboven, Jon Mikel Euba, Michael Hakimi, Douglas Huebler, Gema Intxausti, Kameelah Janan Rasheed, Mike Kelley, Ferdinand Kriwet, Agnieszka Kurant, Mario Navarro, Adrian Piper, Lili Reynaud-Dewar, Heinrich Riebesehl, Pedro G. Romero, Constanze Ruhm, Jörg Schlick, Camila Sposati, Kathrin Stumreich, Isidoro Valcárcel Medina, Tanja Widmann, Robert Adrian X
Diedrich Diederichsen
Diedrich Diederichsen is a German author, music journalist, and cultural critic. He is one of Germany's most renowned intellectual writers at the crossroads of the arts, politics, and pop culture.
Oier Etxeberria
Oier Etxeberria is a Basque visual artist and musician. He is head of the Visual Arts at CICC Tabakalera.
2013, English
Hardcover (w. dust jacket), 224 pages, 9 x 14.5 cm
1st Edition of 2000,
Out of print title / used / fine
Published by
Dent De Leone / London
$80.00 $25.00 - Out of 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.
Out of print.
2019, English / German
Hardcover, 144 pages, 16.5 cm x 22 cm
Published by
Koenig Books / London
Fridericianum / Kassel
$48.00 - Out of stock
The realm of the imaginary, which has always been regarded as the primal domain of art, has expanded progressively under the influence of new technologies in the early years of the twenty-first century. Through a process of mutual interaction, the imaginary permeates and shapes reality— and vice versa. The imaginary potential of the visual image has become increasingly significant. This ongoing process is designated by the concept of the image. The works presented in this exhibition explore the image at the moment of its fundamental reconfiguration. Changes affecting the origin, distribution, function, and mission of the image have made it both the point of departure and the principal object of artistic analysis.
Artworks by Pierre Huyghe, Wade Guyton, Seth Price, Mark Leckey, Philippe Parreno, Michel Majerus, Trisha Donnelly, Cory Arcangel, Sturtevant, Isa Genzken
Texts by Alex Kitnick, Susanne Pfeffer, Seth Price, D.N. Rodowick
Published to accompany the exhibition ‘Images’, 31 Jan – 1 May 2016, Fridericianum, Kassel.
Co-published by Koenig Books and Fridericianum.
English and German text.
2017, English
Hardcover, 398 pages, 30.5 x 23 cm
Published by
Stedelijk Museum / Amsterdam
Walther König / Köln
$98.00 - Out of stock
This catalogue is the first comprehensive publication on Price’s varied oeuvre. It offers an unflinching portrait of contemporary, mediated Western life. The exhibition at Stedelijk Museum is the first survey of the American artist’s work.
A key theme in Price’s work is the self under technological pressure. This is often expressed in terms of the ‘skins’ of surface, packaging, and wrapping: a photographic study of a person’s skin obtained through the technologies Google employs for mapping; a vacuum-formed plastic relief presenting a body part stranded in plastic; a large wall sculpture depicting the negative space between two people engaged in intimate action, greatly enlarged from a tiny internet jpeg.
‘Seth Price is a key figure in addressing technology and artistic authorship. His work traces an important art historical shift from the concept of collage, where chance played a major role and the image was constructed of multiple layers, to the concept of a unified image, which envelops us in an endless, undifferentiated, digital stream.’ – Beatrix Ruf, Director of Stedelijk Museum
Published on the occasion of the exhibition Seth Price: Social Synthetic, at Stedelijk Museum, Amsterdam (15 April – 3 September 2017), and at Museum Brandhorst, Munich (12 October 2017 – 18 March 2018).
Texts by: Cory Arcangel, Ed Halter, Achim Hochdörfer, Branden W Joseph, John Kelsey, Michelle Kuo, Rachel Kushner, Laura Owens, Ariana Reines, Beatrix Ruf.
2016, English
Softcover (w. dustjacket), 166 pages, 19 x 25.5 cm
Published by
Sternberg Press / Berlin
$54.00 $15.00 - Out of stock
Intersubjectivity Vol. 1
Language and Misunderstanding
With contributions by Cory Arcangel, Fia Backström, Alain Badiou, Erica Baum, Xu Bing, Paul Chan, Andrew Durbin, Jimmie Durham, Daniel Grúň, Lucy Ives, Jenny Jaskey, William Kherbek, Nicky Marsh, Julia Moritz & YGRG, Ariane Müller, Vincent Romagny, Hito Steyerl
Intersubjectivity, a two-volume collection of essays, is concerned with a new account of our ideas of what subjects are, and what is means for them to meet. The project explores these concepts in the context of the interaction of non-sentient beings, attempting to move beyond anthropomorphic theories of objectivity and materiality, as well as subjects whose boundaries resist definition. Intersubjectivity takes up the complementary problems of nondiscursive language and nonlinguistic discourse, in an attempt to locate the distinctions and respective abilities of philosophy as a particular kind of art and art as a particular kind of philosophy.
The first volume, Language and Misunderstanding, addresses concretism and its discontents. The essays and performance texts herein argue for an expanded consideration of concretism in contemporary practices oriented toward the embodiment of language, in works that challenge the privileging of the body of the word over the body of the artist. Thus Cory Arcangel, Fia Backström, Erica Baum, Paul Chan, Jimmie Durham, and Hito Steyerl all contribute works that in different ways insist on the somatic nature of writing; Andrew Durbin, and Ariane Müller, and Vincent Romagny address the drift of meaning across material; Lucy Ives, Daniel Grúň, and the Young Girl Reading Group are skeptical of dogmas of authorship and identity; Alain Badiou asks when modern art will end; and Abraham Adams polemicizes against the loss of the body in the concrete work. With an introduction by Lou Cantor.
Design by BOKA Bożena Kalinowska
2015, English
Softcover, 96 pages, 17 x 23 cm
Published by
MUMA / Victoria
$20.00 - Out of stock
Catalogue published to accompany the exhibition Technologism, at Monash University Museum of Art (MUMA) in Melbourne, 3 Oct - 12 Dec 2015, curated by Charlotte Day.
Artists: Cory Arcangel (US), Dara Birnbaum (US), Chris Burden (US), Ian Burn (AU), Antoinette J. Citizen (AU), Simon Denny (NZ), Jan Dibbets (NL), Aleksandra Domanović (SI/DE), Harun Farocki (DE), Benjamin Forster (AU), Isa Genzken (DE), Greatest Hits (AU), Martijn Hendriks (NL), Lynn Hershman Leeson (US), Matt Hinkley (AU), Jenny Holzer (US), Edward Kienholz & Nancy Reddin Kienholz (US), Oliver Laric (AT), Mark Leckey (UK), Scott Mitchell (AU), Rabih Mroué (LB), Henrik Olesen (DK), Nam June Paik (KR/US), Nam June Paik & John Godfrey (US), Joshua Petherick (AU), Matte Rochford (AU), Jill Scott (AU), Richard Serra (US), John F. Simon Jr. (US), Brian Springer (US), Hito Steyerl (DE), Ricky Swallow (AU), Jeff Thompson (US), Pia van Gelder (AU), Ulla Wiggen (US) and Dennis Wilcox (AU)
MUMA concludes its three-part series on watershed moments in art history — Reinventing the Wheel: the readymade century and Art as a Verb — with Technologism, a major group exhibition bringing together forty-three historical and contemporary artworks, including several new commissions from Australian practitioners. Technologism wrestles with the profound cultural, social and political impact technology has made on art since the 1960s.
Conservative cul-de-sac's of the community are often sceptical of technology and its ever increasing presence in our lives. However many artists — with a natural propensity for constant upheaval — have whole-heartedly embraced radical changes in technology over the last sixty years. Featuring artworks that engage both physically and conceptually with electronic systems — television, computers, the internet, smartphones — Technologism focuses on the ways artists critique and disrupt official uses of the media, or construct their own machines and data systems.
Riffing off both the aesthetic and conceptual characteristics of technology, artists in Technologism document technology's advancement in a plethora of ways: Ulla Wiggen's intricate paintings of circuit boards from the mid 1960s, see the development of an aesthetic inspired by the complex intersection of electrical wires, connectors and components, working to manipulate and rewire the physicality of technology; some thirty years later, John F. Simon's Art Appliances series of the 1990s uses the circuitry of small LCD screens to disrupt pictures and patterns, recreating them over; in Matte Rochford's video Progressively Degrading Test Pattern 2013, humble VHS tapes are copied and recopied, in a process of metaphysical reduction; while in Joshua Petherick's new work, one technology is employed to record another soon to be superseded, revealing new visual dimensions and the 'ghosts in the machine'.
A story of advancement inevitably turns into obsolescence, and Technologism seeks to document the early use of broadcast technology as a way of bridging the gap (and finding a space) between the image on the screen, the physical presence of the viewer, and the broader community. Jan Dibbet's TV as a Fireplace 1968, documents television as a collective experience — even if viewers were separated physically, they were united through time and space like pre-historic cave-dwellers by a communal broadcast. However with the advent of the internet, personal computer devices and streaming services, technology has again changed the relationship we have with the world around us to a more singular yet proliferating existence.
A history of DIY jamming and hacking presents the way artists have continued to subvert conventional uses of technology and challenge the status-quo, from the internet as militarily-designed, to corporately-exploited, civilian-employed, artistically-manipulated, and back again. For instance, Lynn Hershman Leeson's work investigates how media is used as a tool for censorship and political repression, while Simon Denny's work co-opts the aesthetic and rhetoric of language of multinational corporations in order to question their power. In presenting these works and others, Technologism seeks to consider what is the value of such subversion, or is it merely a perpetuation of the problem?
Artist Hito Steyerl asks, 'is the internet dead?' Although, hyperbolic in its prognosis, Technologism recognises that sceptical questions such as this are an important part of how artistic practice negotiates technological advancement. Technologism proceeds from the idea that technology in all its forms, physical and immaterial, needs to be interrogated in order to be perpetually remade.
Technologism considers changes in infrastructure, such as telecommunication networks and the internet, and the cultural implications of technological innovation and considers from the position of the developers of these technologies as well as from the end user. Technologism asks 'how does technology effect artistic practice?' As well as, 'how can artistic practice effect technology?'
Fully illustrated catalogue features texts by Charlotte Day, Philip Brophy, Bridget Crone and Sean Dockray. Designed by Yanni Florence.
2015, English / Portuguese
Softcover (die-cut), 300 pages, 28.5 x 22.5 cm
Published by
Serralves Museum of Contemporary Art / Porto
$58.00 $30.00 - Out of stock
Since the second half of the 20th century, we have lived under the shadow of two clouds: the mushroom cloud of the atomic bomb, and the ‘cloud’ of distributed information networks. How did the central metaphor of cold war paranoia become the utopian metaphor of today? ‘Under the Clouds’ explores the contemporary sublime that has replaced the natural one, and the interrelated effects and affects of these two clouds on life and work, leisure and love, and on images, bodies, and minds.
The post-war technologies of the emergent third industrial revolution have now evolved to fit in the palm of our hand; we no longer merely look at images, we now touch, scroll, pinch, and drag them. Where is the border between the self and its data shadow, between information, matter, and affect? The biological, economic, aesthetic, and political effects of living under the clouds has taken the form of new relations between data and material, as well as increasing debt and abstract financialization; the changing nature of work and sex; and new relationships between screens, images, and things. As earlier forms of technologically inflected art sought to mitigate the effects of change — both on perception and society — many of today’s artistic practices confront the myriad interfaces and decentralized networks that continue to shape and transform daily life, forming new evolving connections between bits and atoms.
Texts by
Enrico Baj & Sergio Dangelo, Thomas Hirschhorn, Sean Landers, Metahaven, Seth Price, João Ribas, Frances Stark, Hito Steyerl, Stan VanDerBeek
Artists
Adel Abdessemed, Horst Ademeit, Cory Arcangel, Arte Nucleare, Darren Bader, Enrico Baj, Robert Barry, Eduardo Batarda, Thomas Bayrle, Neïl Beloufa, René Bertholo, Joseph Beuys, K.P. Brehmer, Bruce Conner, Kate Cooper, Gregory Corso, Guy Debord, Harun Farocki, Hans-Peter Feldmann, Carla Filipe, General Idea, Melanie Gilligan, Jean-Luc Godard & Anne-Marie Miéville, Peter Halley, Rachel Harrison, Mona Hatoum, Pedro Henriques, Thomas Hirschhorn, Yves Klein, Sean Landers, Elad Lassry, Mark Lombardi, Julie Mehretu, Katja Novitskova, Ken Okiishi, Trevor Paglen, Nam June Paik, Silvestre Pestana, Pratchaya Phinthong, Seth Price, Martha Rosler, Thomas Ruff, Jacolby Satterwhite, Ângelo de Sousa, Frances Stark, Haim Steinbach, Hito Steyerl, Jean Tinguely, Adelhyd van Bender, Stan VanDerBeek, Andy Warhol, Christopher Williams, Christopher Wool, Anicka Yi
2015, English
Softcover, 275 pages (colour ill.), 23 x 30 cm
Published by
Kaleidoscope Press / Milan
$22.00 - Out of stock
Kaleidoscope #23 (Winter 2015).
HIGHLIGHTS:
JASON MATTHEW LEE (by Alexander Shulan), DANIEL BAUMANN (by Aoife Rosenmeyer), Marilyn Minter (by Gianni Jetzer), MAGALI REUS (by Ruba Katrib), KNOW WAVE RADIO (by Alexandre Stipanovich), BEATRICE GIBSON (by George Vasey), CATHERINE AHEARN (by Tobias Czudej), K-HOLE (by Kevin McGarry), JAMIAN JULIANO-VILLANI (by Joshua Abelow), ALESSANDRO BAVA (by Francesco Garutti), ZHAO YAO (by Venus Lau), and IDEA BOOKS (by Xerxes Cook).
At a time when feminism resurges both in critical discourse and media headlines, while at the same time entering a list of words overdue to be banned, Kaleidoscope's MAIN THEME section is devoted to a reconsideration of female identities and role models. POST WOMAN is composed of a think tank, a think piece by Natasha Stagg and five interviews, including with Juliana Huxtable (by Andrew Durbin), Amalia Ulman (by Francesca Gavin), Judith Bernstein (by Hanne Mugaas), Massimiliano Gioni (by Pietro Rigolo), and Girls Like Us (by Felix Burrichter).
To follow, this issue’s MONO section and cover story are dedicated to Norwegian artist IDA EKBLAD. Fueled by an outright marvel for this thing called art, her work is distinguished by an extreme degree of impatience and prolificness. Her shift and turns are the result of a feverish engagement with pure materiality, synthesized with popular culture and animated by alien transformations. This definitive monographic survey comprises an essay by Peter J. Amdam, an interview by Cory Arcangel and an original portrait by Sølve Sundsbø.
Later on, the VISIONS section invites the eye to an enthralling journey across almost 100 pages of visual contributions by artists, curators and image-makers, including: TOBIAS ZIELONY, “Jenny Jenny”; MR.; “Chicago”: BARBARA CRANE and TONY LEWIS; DAVID DOUARD in Los Angeles; JONAS WOOD; “Alliantecnik,” curated by Alessio Ascari; TIMUR SI-QIN, “Premier Machinic Funerary”; and GRAHAM LITTLE.
Lastly, the closing section of REGULARS features our insightful columns on the past, present and future of art and culture: PRODUCERS features Carson Chan’s conversation with Ballistic Architecture Machine; in FUTURA 89+, Hans Ulrich Obrist and Simon Castets interview young artist Philipp Timischl; Andrey Bold questions TOKYO’s art scene as part of the PANORAMA series; in PIONEERS Fredi Fischli and Niels Olsen talk to cult Swiss designers Trix and Robert Haussmann; and in the first installment of RENAISSANCE MAN, Jeffrey Deitch celebrates the art of choreographer KAROLE ARMITAGE.
2014, English
Softcover, 180 pages, 16.5 x 23.5 cm
Published by
Dexter Sinister / New York
Sternberg Press / Berlin
The Serving Library / New York
$26.00 - Out of stock
This issue concerns itself with “numbers,” ranging from a brief note on “The Psychology of Number” by John Dewey and John McLellan, to Vincenzo Latronico’s historical overview of the ongoing attempt to conjure “truths from thin air” (such as proof of the existence of god). In between are essays and articles by Cory Arcangel, Perrine Bailleux, Rosie Cooper, Dan Fox, Angie Keefer, Mathew Kneebone, James Langdon, Philip Ording, Katherine Pickard, David Reinfurt, and Justin Warsh, plus an indexical book review by the late David Foster Wallace.
Design by Dexter Sinister
2014, English
Softcover, 142 pages (colour ill.), 21.7 x 28.4 cm
Published by
Walther König / Köln
$48.00 - Out of stock
Published on the occasion of the exhibition Cory Arcangel, All the Small Things HEART - Herning Museum of Contemporary Art (March 22- June 22, 2014)
2013, English
Hardcover (cloth-bound), 172 pages, 20 × 25 cm
Published by
Standard Books / Oslo
$54.00 - Out of stock
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.
2013, English/Italian
Softcover (newspaper), 37 x 26 cm
Published by
Mousse Publishing / Milan
$18.00 $10.00 - Out of stock
Mousse #41, December 2013:TALKING ABOUT - What do you need me for? by Vivian Sky Rehberg; ALAN MOORE - A for Alan Moore by Hans Ulrich Obrist; TALKING ABOUT - Pots on Video by Nick Currie; ON PURPOSE AND URGENCY - Introduction by Joao Ribas; ON PURPOSE AND URGENCY - I will revisit my lost loves, and playmates masterless! by Chus Martínez; ON PURPOSE AND URGENCY - Digital Landfills by Cory Arcangel; ON PURPOSE AND URGENCY - Found Wanting by Angie Keefer; ON PURPOSE AND URGENCY - The Writing of Banality by Akram Zaatari; ON PURPOSE AND URGENCY - Transformative Energies by Defne Ayas; ON PURPOSE AND URGENCY - Compatability Mode by Seth Price; ON PURPOSE AND URGENCY - An Actual Subversion by David Levine; ON PURPOSE AND URGENCY- Too Big to Fail by Adam Kleinman; ON PURPOSE AND URGENCY - Law as Art by Carey Young; TALKING ABOUT - Mass Effect by Lauren Cornell & Ed Halter; STEVE MCQUEEN - Shackled Past by Jens Hoffmann; CHARLES RAY - A Sculptural Differential by Zachary Cahill; LUKE WILLIS THOMPSON - Out of the Gallery by Sophie von Olfers; TABOR ROBAK - I Love Screens by Cecilia Alemani; GCC - Gulf Committee Complex by Kevin McGarry; CALEB CONSIDINE -Mute Paintings by Alex Kitnick; THOMAS EGGERER - A Fragile Artificiality by John Kelsey; NEW YORK - KEVIN BEASLEY - Shaking the Museum by Jenny Schlenzka; LONDON - CHRISTINA MACKIE - A Constant Drift by Rhea Dall; LOS ANGELES - JON PESTONI Jon Pestoni: With Flying Colors by Andrew Berardini; TALKING ABOUT - The Blurring of You and Me by Jennifer Allen; HOBBYPOPMUSEUM Gesamtkunstspiel by Catherine Wood; DENA YAGO - Life on Heat Island by Isla Leaver-Yap, and much more...
2008, English
Softcover, 104 pages, offset/newsprint, 165 x 235 mm
Published by
Dexter Sinister / New York
$27.5.00 - Out of stock
A W.A.S.T.E. of Ink (after Thomas Pynchon)
DDD16 was conceived parallel to—and is issued from under the wing of—the project 'True Mirror', directed from the Commander’s Room at the 7th Regiment Armory Building, New York between 4–23 March, 2008 and tracked at http://www.sinisterdexter.org. On reflection, we realised real news doesn’t need a press release.
The issue then draws liberally from three other interlocking projects, all founded by guest-co-editor Raimundas Malašauskas.
In this issue:
2011, English
Softcover, 19.1 x 12 cm
Edition of 1500,
Published by
De Appel / Amsterdam
$18.00 - Out of stock
The eighth issue of F.R.DAVID, "Spin-cycle", is preoccupied with commentary: quite simply assuming that any form of production is commentary – the addition / subtraction of value – in one form or other.
Contributions from Cory Arcangel, G.K.Chesterton, Serge Daney, Susan Howe, Edward Johnston, Janice Kerbel, John Miller, Alice Notley, Francis Ponge, Ezra Pound, J.H.Prynne, Cally Spooner, Keston Sutherland, Ian White, Mas’ud Zavarzadeh and more. Including a 16-page colour contribution in by Franz Erhard Walter.
Edited by Will Holder & Mike Sperlinger.