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
Graphic 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 Books 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.
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - In stock -
"Identity politics" has always been beleaguered territory. Yet recently the debate around “identity" has intensified and (with Trump) even developed new fronts. This issue examines the present state of identity politics in the West, finding the commodification of identity in mass culture (as in the art market) to be a leading influence. We also recognize a divide between, on the one hand, non-dominant communities cohering around identity so as to become visible together; and on the other hand, individuals aiming to stand out as special or "unique" by dint of membership in various non-dominant groups. Such ambiguity, in the face of current leadership (see issue cover) lends only all the more urgency, we feel, for a serious engagement with “identity” vis-a-vis “politics” now.
ISSUE NO. 107 / SEPTEMBER 2017 "IDENTITY POLITICS NOW"
Table Of Contents
True And False Victims / Sarah Schulman In Conversation With Caroline Busta and Anke Dyes (Texte Zur Kunst)
Gabi Ngcobo & Yvette Mutumba, Klaus Biesenbach, Egija Inzule On "People Politics"
Monique Roelofs / Identity And Its Public Platforms: A String Of Promises Entwined With Threats
Andreas Reckwitz / Performative Authenticity: The Subject In The Late Modern Society Of Singularities
What Would Winning Look Like? / Bini Adamczak In Conversation With Anke Dyes (Texte Zur Kunst)
Coco Fusco / Decades Of Identity Politics
Das Falsche Buch Zur Richtigen Zeit / Floris Biskamp Über „Beißreflexe“ Von Patsy L’amour Lalove
Apocalypse, A Lover’s Discourse / Jeff Nagy On “Life” By Hannah Black and Juliana Huxtable
Das Unbewusste Ist Strukturiert Wie Eine Ware / Helmut Draxler Und Kerstin Stakemeier Über „The Capitalist Unconscious“ Von Samo Tomšic
Zwischen Warten Und Wandern / Christiane Voss Über „Siegfried Kracauer. Eine Biografie“ Von Jörg Später
Liebe Arbeit Kino
Ghost In Chanel / Tobias Madison On Olivier Assayas’s Film “Personal Shopper”
Lippenbekenntnisse / Fiona Mcgovern Über Kerstin Honeit Im Videoraum Der Berlinischen Galerie
Documenta 14 - Skulptur Projekte Münster - 57Th Biennale Di Venezia
Aus Fehlern Lernen / Sabeth Buchmann Und Ilse Lafer Über Die Documenta 14 In Athen
Incorrect History / Tom Mcdonough On Naeem Mohaiemen’s “Two Meetings And A Funeral” At Documenta 14, Kassel
Public Sculpture Pokéstop / Amy Lien And Enzo Camacho On Skulptur Projekte Münster 2017
Aufhören, Wenn’s Am Schönsten Ist / Eva Ehninger Über Die Skulptur Projekte Münster
The Stuck Hourglass / Venus Lau On The 57Th Venice Biennale
Crowd Kontrolle / Judith Rodenbeck On Anne Imhof’s “Faust” For The German Pavilion, 57Th Venice Biennale
Negative Chic / Ken Okiishi On Rei Kawakubo/Comme Des Garçons At The Metropolitan Museum Of Art, New York
Zünftig In Die Zukunft / Beate Söntgen Über „Otto Freundlich: Kosmischer Kommunismus“ Im Museum Ludwig, Köln
The Man In The Mirror / Sarah Morris On Merlin Carpenter At Galerie Neu, Berlin
Verdeckte Arbeit / Gertrud Koch Über Sarah Morris Bei Capitain Petzel, Berlin
Marilyn And The Museum With Walls / Kevin Lotery On Rachel Harrison At Greene Naftali, New York
Unterwerfung Durch Architektur / Anna Voswinkel Über Peggy Buth Im Museum Folkwang Essen
Democracy Of Sound / Zoë Alexandra Harris On “Free Music Production/Fmp: The Living Music” At Haus Der Kunst, Munich
Tausend Snapchat-Rimbauds / Hans-Christian Dany Über Seth Price Im Stedelijk Museum, Amsterdam
Trocadero Drift / John Kelsey on Michel Houellebecq At Venus Over Manhattan, New York
Resident Aliens / Ella Plevin On Monira Al Qadiri At Gasworks, London
Blickwechsel-Begehren / Ines Kleesattel Über Birgit Megerle Im Kunsthaus Glarus
Containers Of The Virtual / Lars Bang Larsen On Hans-Christian Lotz At Christian Andersen, Copenhagen
Geschwätzige Zeiten / Tobias Teutenberg Über „After The Fact. Propaganda Im 21. Jahrhundert“ In Der Städtischen Galerie Im Lenbachhausund Kunstbau München
The Interdependence Of Feelings And Debates / Yuki Higashino On Martin Beck At Mumok, Vienna
Werner Hamacher (1948–2017)
2015, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - Out of stock
Decades following the rise of computer aided design and the aesthetic-theoretical debates that coincided, it might seem late, at this point, to place a spotlight on photography. After all, hardly anyone defends photography’s loyalty to the analog index anymore, or mourns the medium specificities of centuries past. And yet, who can dispute that the photograph has become the primary base for establishing identity now, for cohering a social body; one that, as the substrate across which today’s human subject is drawn, stands as, in a sense,our material support? As the image’s gaze has become omnipresent, it is perhaps prime time to ask how do we now understand photo-media to operate? What information do we expect it to carry? What facts do we trust it to convey?
ISSUE NO. 99 / SEPTEMBER 2015 “PHOTOGRAPHY”
TABLE OF CONTENTS
LOST TRACES OF LIFE / A conversation about indexicality in analog and digital photography between Isabelle Graw and Benjamin Buchloh
PHOTOGRAPHY, LACAN, AND THE GENIUS OF JEFF KOONS
THE DISTRIBUTED IMAGE
LIFE IN THE SYSTEM
THE PHOTOBOOK, POST-DIGITAL
PHOTOGRAPHY AFTER PHOTOGRAPHY AFTER PHOTOGRAPHY
LECTURE ON THE EXTRA PART
BENJAMIN ASAM KELLOGG
OCULUS DEMOS MAXIMUS
FUTURE NOT PRESENT / Helmut Draxler, Susanne von Falkenhausen, Amy Sillman, and Hong Zeiss on the 56th Venice Biennale
DREAMING IN TRENDS / Michael Wang on the Louis Vuitton Foundation, Paris
NO EXPO / Amy Lien and Enzo Camacho on the Fondazione Prada, Milan
OPEN SEASON / Nikoloz Japaridze with Natasha Randall on the Garage Museum of Contemporary Art, Moscow
HART SPRECHEN FÜR EINE GEMEINSAME WELT / Christian Kravagna über "Kritik der schwarzen Vernunft" von Achille Mbembe
GARY COOPER'S LIPSTICK / Thomas Beard on Boyd McDonald's "Cruising the Movies: A Sexual Guide to 'Oldies' on TV"
LIEBE ARBEIT KINO
WETRANSFER: MEDIATING THE MEDIATED SELF / Carson Chan on Britta Thie's "Translantics"
WIR SIND GAR NICHT HIER / Joy Kristin Kalu über Richard Maxwells "The Evening", The Kitchen, New York
Megan Francis Sullivan on Birgit Megerle at Galerie Emanuel Layr, Vienna / Nuit Banai on Josef Strau at Secession, Vienna / Nina Franz über Calla Henkel & Max Pitegoff in der Galerie Isabella Bortolozzi, Berlin
BLAUE FLECKEN / Alexander García Düttmann über De La Fuente Oscar De Franco im Helmhaus, Zürich
HEARTS OF CONTROL / Dan Mitchell on Gili Tal at Temnikova & Kasela, Tallinn
JEDERMANNS AUTOBIOGRAFIE / Kerstin Stakemeier über Mark Leckey im Haus der Kunst, München
MIT INDIEGOGO NACH PIONEERTOWN / Michael Kral über Pierre Bismuth in der Galerie Jan Mot, Brüssel
ALTE GEISTER / Philip Ursprung über Albert Oehlen in der Kunsthalle Zürich
DOROTHEE FISCHER (1937-2015)
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$31.00 - Out of stock
Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps the real displacement and disenfranchisement after which romantic notions of “bohemia” were later formed may again be a very real threat?
ISSUE NO. 97 / MARCH 2015 “BOHEMIA”
ENGLISH CONTENTS include:
THE PHYSIOGNOMY OF DISENFRANCHISEMENT
“Faces of bohemia at one hundred and fifty”
THE POSSIBILITY OF LIFE AT THE SYSTEMIC EDGE
Three questions for Saskia Sassen
AT THE END OF ALTERNATIVES
An interview with Cornelia Koppetsch
FIORUCCI MADE ME NORMCORE / Five observations on art, style, and scenes today
BOHEMIA = UTOPIA?
HOTTEST NEW ALT MARRIAGE STACK SOLUTIONS / Paratext and Glossary by Ella Plevin
BASIC INSTINCT / Cyber-channels and the female pose
WHAT’S YOUR NAME, BOHEMIA?
THE DEATH OF ILLUSION / An interview with Noura Wedell
O CRONENBERG! (A SPOILER) / Mark von Schlegell on David Cronenberg’s recent movie “Maps to the Stars” and novel “Consumed”
Nick Zedd on Greer Lankton at Participant Inc, New York
Tess Edmonson on Amalia Ulman at James Fuentes, New York
Ana Teixeira Pinto on Oliver Laric at Tanya Leighton, Berlin
NOT ONLY THE HEART IS NOT A METAPHOR / Rachel Haidu on Robert Gober at the Museum of Modern Art, New York
TOTAL CONFUSION / Christian Naujoks on Cosima von Bonin at Mumok, Vienna
GLOOM / Amy Lien and Enzo Camacho on the Taipei Biennial 2014
A GLIMPSE AT THE SOCIAL LIFE OF PAINTINGS / Catherine Chevalier on Marcel Duchamp at Centre Pompidou, Paris
LEWIS BALTZ (1945–2014)
by Jeff Rian