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.
2016, English / Italian
Softcover (w. French-folds and inserted booklets), 200 pages, 19.5 x 25.4 cm
Published by Marsilio / Venice
$85.00 - In stock -
Edited by Danh Vo, Caroline Bourgeois, Julie Ault, Heinz Peter Knez, Stefan A. Peterson.
Exhibition curated by Danh Vo and Caroline Bourgeois
Texts by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion
Photography by Heinz Peter Knes
Danh Vo’s conceptual artworks and installations often draw upon elements of personal lived experience (his own, the lives of his parents and other family members) to explore broader historical, social or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. The works shown in this book—closely related to an exhibition at the Pinault Foundation in Venice—in addition to Vo’s site-specific installations, include some curious old works of art from Venetian museums and collections, provocatively chosen by Vo to establish an unprecedented dialogue between past and present.
Beautifully designed, comprehensive exhibition catalogue with two inserted booklets (text book with words by Patricia Falguieres, Elisabeth Lebovici, and Amy Zion; and exhibition guide/artist profile book and work list), with the main book entirely made up of elegant colour photographic imagery by Heinz Peter Knez of the exhibition itself and the wonderful collection of works assembled. Profusely illustrated with installation views, works and details, featuring the work of Leonor Antunes, Nairy Baghramian, Giovanni Bellini, Constantin Brancusi, Marcel Broodthaers, Giovanni Buonconsigliodetto Il Marescalco, Hubert Duprat, Michael Elmgreen & Ingar Dragset, Luciano Fabro, Peter Fischli and David Weiss, Felix Gonzalez-Torres, Petrit Halilaj, David Hammons, Roni Horn, Peter Hujar, Tetsumi Kudo, Bertrand Lavier, Zoe Leonard, Francesco Lo Savio, Lee Lozano, Robert Manson, Piero Manzoni, Sadamasa Motonaga, Jean-Luc Moulène, Henrik Olesen, Pablo Picasso, Sigmar Polke, Carol Rama, Charles Ray, Auguste Rodin, Cameron Rowland, Andres Serrano, Nancy Spero, Sturtevant, Alina Szapocznikow, Paul Thek, Harald Thys & Jos Degruyter, Danh Vo, David Wojnarowicz, Martin Wong.
2016, English / French
Softcover, 168 pages, 240 x 175 mm
Published by May Revue / Paris
$29.00 - In stock -
Preface — MAY
Crisis Fashion — DANIEL HORN
DIS and That — MIKAEL BRKIC & DIS
Vetements – Fall / Winter 2016. Panel Discussion — LOU STOPPARD & SAHIL BABBAR, AUDE FELLAY, AYA NOEL, PRIYESH PATEL, VILDE SORUM
The Modern Naked King — TAQUE HIRAKAWA
Interview with Women’s History Museum — ADA O’HIGGINS
Maison Artists Space. Interview with Stefan Kalmár — MAY
Roundtable — BLESS & ANJA ARONOWSKY CRONBERG, HEINZ PETER KNES
THE STREET — TOBIAS KASPAR & TOBI MAIER
Jesus as Readymade. Interview with Kaspar Müller — PETER FISCHLI
La mode retrouvée. On the Wardrobe of the Countess Greffulhe at Palais Galliera, Paris — HANNAH ADKINS
Post-Hummannerism. On “Inhuman” at Fridericianum Museum, Kassel — JAKOB SCHILLINGER
Magma — ERIC BELL
Finely Crafted Stool. On Mathieu Malouf at Jenny’s, Los Angeles — GEORGE EGERTON-WABURTON
Wolfpack. On the film “The Wolfpack” by Crystal Moselle — JULIA MORITZ
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.
Loose-leaf collection of Y3K ephemera (folded A3 exhibition posters, plus A4 inserts), 21 x 29.7 cm
Edition of 100,
Published by Y3K / Melbourne
$25.00 - In stock -
Y3K was a two-year (2009-2011) proposition initiated by James Deutsher and Christopher L G Hill, a gallery practice as-an-extension-of an art practice and-in-support-of a wider art and design community in Melbourne and Internationally.
Over two-years Y3K exhibited World Food Books, BLESS, Christopher L.G. Hill, Emmeleine deMooij, Jota Castro, Kinga Kielczynska, Melanie Bonaj, fabrics interseason, ffiXXed, Heinz Peter Knes, James Deutsher, Matt Hinkley, Olivia Barrett, Pat Foster, Jen Berean, Rob McKenzie, SIBLING, Slow and Steady Wins the Race, Jon Campbell, LOST Projects, Alex Vivian, Daniel du Bern, Nick Selenitsch, Kain Picken, Next Wave, A Constructed World, Joshua Petherick, Helen Johnson, Bianca Hester, Misha Hollenbach, David Griggs, Sam Kiyoumarsi, Robert Langenegger, Nick Mangan, Matt Griffin, Masato Takasaka, Fiona Connor, Tahi Moore, Ida Ekblad, Art Centre Ongoing, Kit Lee, Kate Newby, Sriwhana Spong, Dylan Statham, Simon Taylor, Sophia Mitchell, Rowan Mcnaught, MM Yu. Ilia Farah Rosli, Marco Fusinato, TATE Modern, Marie Gaultier, Anna Hess, Veronica Kent, Jarrod Rawlins, Keith Al-Hasani, Ruby Lowe, Justin Clemens, Daniel Munn, Simon Denny, Dan Arps, Andrew Barber, Structural Integrity, Marco Fusinato, Rose Nolan, Dan Bell, Kate Smith, Ardi Gunawan, Nikos Pantazopoulos, Ben Tankard, Steve Kado, Virginia Overell, Mateo Tannatt, Sean Peoples, Inri Cristo, Tara Rawlins, Chateau 2F, Oscar Yanez, Hany Armanious, Ash Kilmartin, Elizabeth Gower, Lizzy Newman, Nina Sers, Maria Kozic, Ellen Pittman, Juan Davila, Janet Burchill, Jennifer McCarthy, Constanze Zikos, Hao Guo, Pow Martinez, Carissa Rodriguez, Tobias Kaspar, Piotr Łakomy, Natalie Rognsøy, Katherine Huang, Taree McKenzie, Ester Partegas, Mikala Dwyer and John Spiteri and more.
Each exhibition was accompanied by an A3 double sided unique limited edition poster designed by the artists and gallerists. These posters now form the basis for the Y3K publication.
Included in this publication, and on the occasion of it's launch to the public two years after the cessation of the Y3K gallery space, is an accompanying text from
The Y3K publication is a limited edition of 100, and is available from World Food Books.
$60.00 - Out of stock
This book documents the collection of the artist Martin Wong (1946–1999).
In numerous colour illustrations, photographs that Heinz Peter Knes took together with Danh Vo, the book depicts the interiors of the Wong Fie family residency in San Francisco filled with paintings, sculptures, and mulitfaceted objects from very specific and diverse fields of interest such as asian antiques and americana that Martin Wong followed and collected together with his parents throughout is life.
This books was produced on the occasion of the exhibiton:
Julie Ault/Heinz Peter Knes/Danh Vo/Martin Wong
“Neptune Society, San Francisco Columbarium, 4th Fl., Dome Room, South Wall, Tier 4, Niche 2” at Daniel Buchholz Galerie, Fasanenstraße 30, Berlin
Portion of exhibition text:
Under the title "Neptune Society, San Francisco Columbarium, 4th Fl., Dome Room, South Wall, Tier 4" we are presenting an installation with new works by Dahn Vo, a new text by Julie Ault and photographs by Heinz Peter Knes, as well selected works and ephemera from the estate and collection of Martin Wong. The exhibition was organised by Dahn Vo. Together with Julie Ault and Heinz Peter Knes, Dahn Vo enters into a dialogue with the work of Martin Wong whose estate and collection iscurrently stored and administered by Martin Wong’s mother Florence Wong Fie in the Wong family house in San Francisco. Martin Wong (1946-1999) was born in Portland Oregon as the only son of Chinese immigrants Benjamin Fie and Florence Wong Fie.
Martin Wong grew up in San Francisco where he was active in the late 60s and early 70s in the art scene in San Francisco, first as a ceramic artist, then as a draughtsman and painter. In San Francisco he also became a member of the performance groups The Cockettes and Angels of Light. In 1978 Martin Wong moves to New York’s Lower East Side. Since the beginning of the 80s Martin Wong has been showing his work in the context of exhibition spaces and galleries like the Semaphore Gallery, Exit Art and PPOW which were all just being set up at that time.
From his early years Martin Wong has cultivated a distinct passion for collecting in the most diverse areas. Together with his mother, he begins haunting antique shops and flea markets in search of curiosities from American Folk Art and antiques, above all Asiatic antiques, acquiring extensive knowledge and expertise in these fields. Later, alongside his work as a painter he will make a living as a dealer in Asian antiques. After moving to New York Martin Wong takes an increasing interest in the art market and begins to acquire works which interest him and which he can afford to buy. One of the first artworks which he acquired after moving to New York was a “Campbell’s Tomato Juice” box by Andy Warhol. Warhol is in many ways a model for Martin Wong and the areas of interest of both artists are astoundingly similar (at this time Andy Warhol’s private collection had not been published, which makes the parallels between Warhol’s and Wong’s collections the more astonishing).
Martin Wong also acquires a drawing by Piet Mondrian which he then sells at the end of the 80s in order to use the money as the initial capital for a Museum of Graffiti Art. By this time Martin Wong had assembled a large collection from the New York graffiti scene. The Street Art and Poetry scene in New York in the late 70s and early 80s were important points of reference for Martin Wong and substantially shaped the work he produced after the move from San Francisco. Martin Wong developed his known “Sign Language” paintings, that depict sentences in the finger alphabet of gesture language, as his answer to the ‘tags’ of the New York graffiti artists.
During his years in New York Martin Wong also kept in close contact and conducted an extensive correspondence with his family in which he informs his parents about his experiences in New York and reports, in particular to his mother, about his latest purchases and sales.
In 1994 Martin Wong is diagnosed HIV positive. When the state of his health becomes worse Martin Wong decides to move back to his parents in San Francisco. The house he returns to has in the meantime changed into a hybrid between warehouse and shrine, full of the objects, antiques and works of art that Martin Wong had regularly sent back to his mother, as well as a large number of his own works that he dedicated to his parents. Until his death in 1999, with the exception of occasional trips to New York with his mother to see exhibitions and keep up his contacts with his New York circle, Martin Wong was now to live in the parental home where he continued to work, for example on the cactus paintings or a depiction of Patty Hearst in the painting “Did I ever have a Chance”, which is, according to reports, one of Martin Wong’s last paintings and is supposed to have been his proposal for an AIDS Memorial.
In the 90s when it becomes clear to Martin Wong that he will not outlive his parents, he begins to search for a suitable burial place for his family, since it is a Chinese tradition that the son takes care of the burial of his parents. He decides on a family plot in San Francisco Columbarium, an urn repository in a cemetery in the vicinity of the Wong Fie home. In the dome on the fourth floor in row four on the South Wall Martin Wong’s urn and that of his father are now to be found.
Florence Wong Fie who lives in the family house, manages her son’s artistic legacy, archives the collection, and is working to establish a Martin Wong Foundation for Artists. The urn repository site was designed by her as if it were an annex of her house, and it is richly decorated with a changing selection of objects and photographs.
The house in its current state is a unique document of the life’s work of Martin Wong, an important representative of the art scene in New York's lower East Side in the 80s. In a variety of ways the contents of the house on the one hand reflects the wealth of reference in Martin Wong’s works, and over and above that the unique relationship between Martin Wong and his parents with all the necessarily complicated projections and possible misunderstandings such relationships entail.
Danh Vo has been involved with Martin Wong’s work for a considerable time. In the course of many visits to Florence Wong Fie he has come to know the house and the collection. Florence Wong Fie has now announced that she will have to give up the house in the coming year and move into a retirement home. The question of the continuing existence of the collection has not at this time been clarified. Danh Vo has invited Heinz Peter Knes to make a photo-documentation of the house, and has commissioned Julie Ault to write a piece on the unique constellation of the collection. Julie Ault knew Martin Wong back in the 80s in New York and worked with him on several occasions, she also knows Florence Wong Fie.
In the course of the exhibition we will publish a book with Julie Ault’s text and Hans Peter Knes’s photographs.
Softcover, 64 pages (colour ill. throughout), 250 x 175 mm
Edition of 500 (hand-numbered),
Published by Peeping Tom / Paris
$35.00 - In stock -
An artist's book documenting apartment installations created with a series of twelve photoworks (C-prints, posters and one paper collage).
Make believe is a monographic publication by German photographer Heinz Peter Knes, published as an extension of an eponymic series of twelve photographic works (posters, C-prints and one paper collage). This book presents Knes' appropriation of this body of work and proposes diverse ways to display these photographs, confronting the images with several interiors, deserted apartments that Knes chose as backdrops for his still life mise-en-scènes. The series of prints is available for sale as an unlimited edition; not meant to be exhibited on gallery walls, this set of photographs is available for those wanting to keep the installation an ongoing process in a private context.
The original prints of Make believe propose a subjective and political tableau of the city of Berlin: dug from Knes' archives, they have been captured over the last ten years, a period corresponding to the artist's residency in the German metropolis. Primarily meant to document his encounters with the city, these images, when retrospectively selected by Knes, furthermore depict the city as a stage for political issues. Indeed, Knes portrays Berlin through an iconography raising economical, governmental and social connotations, deliberately explicit or more ambiguous/incidental: a close-up of the golden facade of Axel-Springer-Haus (a German press tycoon, with an anti-intellectual, conservative right-wing editorial publishing house located in front of the Wall), an anti-George W. Bush demonstrator, a miniature reproduction of a shed, a low-key TV crew at a Kurdish demonstration, two identical horses (one at the left and the other to the right, facing each other), details of a Plattenbau building (a prefabricated construction, emblematic of former East Germany) with a «ghost» appearing in the window and the lethargic back of a person at a bus station...and so on.
Knes plays with the heterogeneity of forms and functions of the photographic object. Pinned on a wall next to a framed painting, the photograph is considered as a piece of art. Stacked on a desk, it stands for documentation. Under the foot of a chair, it becomes functional. Cut, trashed, torn, folded, archived, exhibited, twisted, stuck, superimposed, interlayered, unbalanced, hidden, cropped—mistreated, ignored, forgotten or glorified—the photographic object via the eyes of Knes is desacralized, trivialized/banalized, by giving it back its everyday acceptance and usage.
Not only multiple in shapes and arrangements, these pictures are mutant and ambivalent in meanings, triggering alternative implications when confronted by the various codes that furniture and objects in the apartment represent. Each setup and association either serves or deprives any given image, either parasited or empowered by its surroundings, through an iconographic mise-en-abyme of signs and symbols. make believe examines the political authority of photographs depending on their contextualization, and through their immersion within a private domain. Knes also interrogates the very nature of the image itself, the determination of its political value, pondering under what conditions an image promotes/conveys a committed statement.
500 hand numbered copies limited edition.
Born 1969 in Gemünden am Main (Germany), Heinz Peter Knes lives and works in Berlin. He graduated from the photography department of Fachhochschule Dortmund in 1999. His work has been featured in publications and exhibitions internationally.