World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Book shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Hardcover, 144 pages, 20.5 x 25 cm
Published by JRP Ringier / Zürich
$75.00 - In stock -
Texts by Kirsty Bell, Andrew Bonacina, Leontine Coelewij, Andrew Durbin, Liam Gillick, Beatrix Ruf
Dutch-born, London-based artist Magali Reus (born 1981) is one of the most acclaimed new voices in contemporary sculpture. Published for her exhibition at the Stedelijk Museum, this is the first monograph on her work. It features her recent series (Parking, Lukes, Dregs, In Place Of and Leaves) and new sculptures created for the Stedelijk, plus an interview with Reus by curators Leontine Coelewij and Andrew Bonacina, and contributions by Stedelijk director Beatrix Ruf, artist Liam Gillick, art critic Kirsty Bell and writer Andrew Durbin. Renowned for her interest in the relationship between mass-produced objects such as fridges, padlocks and seating, and the human body in the context of today's digital society, Reus draws on a vast range of influences and references, from the domestic to the industrial.
Hardcover, 288 pages, 16.5 x 23.8 cm
Published by The MIT Press / Massachusetts
$75.00 - In stock -
In 1968, Robert Smithson reacted to Michael Fried's influential essay "Art and Objecthood" with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form -- and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the "participatory." Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Holler, Maria Lind, Apolonija Sustersic, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.
James Voorhies is a curator and art historian of modern and contemporary art. He is Dean of Fine Arts and Associate Professor at California College of the Arts in San Francisco.
2017, English / Italian
Softcover, 440 pages, 18.5 x 26.5 cm
Published by Mousse Publishing / Milan
$18.00 - Sold
10-year anniversary special issue: a selection of essays, interviews, conversations, and projects appeared in the first ten years of Mousse.
Featuring: Chantal Akerman, Cecilia Alemani, Jennifer Allen, Kai Althoff, Bruce Altshuler, Ed Atkins, Lutz Bacher, Darren Bader, Alex Bag, John Baldessari, Phyllida Barlow, Kirsty Bell, Andrew Berardini, Jonathan Berger, Michael Bracewell, Tom Burr, Maurizio Cattelan, Marc Camille Chaimowicz, Sofía Hernández Chong Cuy, Carolyn Christov-Bakargiev, Stuart Comer, Lauren Cornell, Nicholas Cullinan, Roberto Cuoghi, Nick Currie, Massimo De Carlo, Gino De Dominicis, Gigiotto Del Vecchio, Simon Denny, Brian Dillon, Jimmie Durham, Dominic Eichler, Peter Eleey, Matias Faldbakken, Luigi Fassi, Elena Filipovic, Morgan Fisher, Isa Genzken, Yervant Gianikian & Angela Ricci Lucchi, Liam Gillick, Massimiliano Gioni, Isabelle Graw, Ed Halter, Jens Hoffmann, Judith Hopf, William E. Jones, Omar Kholeif, Alexander Kluge, Jiří Kovanda, William Leavitt, Elisabeth Lebovici, Andrea Lissoni, Helen Marten, Chus Martínez, Nick Mauss, Lucy McKenzie, Fionn Meade, Simone Menegoi, John Menick, Ute Meta Bauer, Massimo Minini, Hans Ulrich Obrist, Trevor Paglen, Stefania Palumbo, Francesco Pedraglio, Otto Piene, Laura Poitras, Elizabeth Price, Seth Price, Laure Prouvost, Alessandro Rabottini, Carol Rama, Filipa Ramos, Jason Rhoades, Dieter Roelstraete, Esperanza Rosales, Nicolaus Schafhausen, Fender Schrade, Stuart Sherman, Frances Stark, Jamie Stevens, Hito Steyerl, Sturtevant, Sabrina Tarasoff, Ana Teixeira Pinto, Oscar Tuazon, Giorgio Verzotti, Jan Verwoert, Francesco Vezzoli, Adrián Villar Rojas, Peter Wächtler, Ian Wallace, Klaus Weber, Cathy Wilkes, Christopher Williams, Jordan Wolfson.
Mousse is a bimonthly magazine published in Italian and English. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format. Mousse keeps tabs on international trends in contemporary culture thanks to its city editors in major art capitals such as Berlin, New York, London, Paris, and Los Angeles.
Mousse (Mousse Publishing) is also publisher of catalogues, essays and curatorial projects, artist books and editions.
Hardcover, 312 pages, 22 x 29 cm
Published by Center for Curatorial Studies Bard College / New York
$67.00 - In stock -
'Invisible Adversaries' was a major exhibition curated by Lauren Cornell and Tom Eccles inspired by the 1976 feature film by the radical Austrian artist Valie Export. The film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her. Motifs from the film – among them, architecture’s influence on identity; feminist critique; and the power of political fantasy – operate as filters through which to consider significant pieces from the Marieluise Hessel Collection.
With works by over 50 artists including Eija-Liisa Ahtila, Chantal Akerman, Kai Althoff, Janine Antoni, Ida Applebroog, Phyllida Barlow, Lynda Benglis, Barbara Bloom, Paul Chan, Patty Chang, Anne Collier, Rineke Dijkstra, Trisha Donnelly, VALIE EXPORT, Hans-Peter Feldmann, Isa Genzken, Liam Gillick, K8 Hardy, Rachel Harrison, Mona Hatoum, Roni Horn, Emily Jacir, Annette Kelm, Leigh Ledare, Nikki S. Lee, Sarah Lucas, Tala Madani, Christian Marclay, Helen Marten, Ulrike Müller, Bruce Nauman, Tony Oursler, Philippe Parreno, William Pope.L, Seth Price, Magali Reus, Rachel Rose, Thomas Ruff, Ilene Segalove, Cindy Sherman, Stephen Shore, Diane Simpson, Lorna Simpson, Jo Spence, Hito Steyerl, Tunga, Gillian Wearing, Martha Wilson, and Krzysztof Wodiczko, amongst others.
This 300-page publication designed by Zak Group with original essays by nine influential writers, scholars and artists: Zach Blas, Johanna Fateman, Nav Haq, Vít Havránek, J. Hoberman, Alex Kitnick, Tavia Nyong’O, Lauren O’Neill-Butler, and Julian Rose. The catalogue also includes original interviews with VALIE EXPORT, Trevor Paglen, and Hito Steyerl.
2016, English / Italian
Softcover (newspaper), 334 pages, 25 x 36 cm
Published by Mousse Publishing / Milan
$20.00 - Sold
MOUSSE #54, Summer 2016
Character Studies of Primeval Life Form
by Jacquelyn Ross
EXTEND, EXCEED, ENHANCE: PROSTHETICS AND SCULPTURE
by Lisa Le Feuvre
by Hans Ulrich Obrist
RAYMOND BOISJOLY, TANYA LUKIN LINKLATER, WALTER SCOTT
Native North America
by Andrew Berardini, Richard William Hill and Candice Hopkins
INSIDE TO OUTSIDE TO INSIDE
by Jens Hoffmann
by Melanie Bühler
by Maurizio Cattelan,
What You See Is What You See
by Krist Gruijthuijsen
I Can Give You Anything But Love
by Andrew Durbin
by Lauren Cornell
An Idiosyncratic Abecedary
by Filipa Ramos
Projecting an Island from Another
by Mark Beasley
The impossible is the only (no-)thing that ever happens
by Pia Bolognesi
by Dieter Roelstraete
by Anselm Franke
NOBODY IS SLEEPING IN THE SKY
by Geoffrey Farmer and Dora García
NOW, I AM AFRAID...
by Chus Martínez
CECILIA BENGOLEA AND FRANÇOIS CHAIGNAUD
by Kathy Noble
MORAG KEIL AND GEORGIE NETTELL
by Fredi Fischli and Niels Olsen
AN ESSAY ON DRESS-UP AND OTHER THINGS
by Sabrina Tarasoff
2010, English / Italian / German
Softcover (plastic printed cover), 88 pages (w. 40 page inserts, 1 fold-out sheet), 265 x 215 cm
1st Edition, Out of print title / As New,
Published by Mousse / Milan Walther König / Köln
$200.00 - In stock -
Now out of print, As New first edition of this great Isa Genzken publication.
This volume takes a radical depart from the standardised format of the retrospective catalogue. While being still lavishly illustrated and offering an in-depth look at the quest for the modern which has informed the radical and diverse Genzken's oeuvre for four decades, it also gives a sense of the tremendous influence and inspiration of her body of work for three generations of artists.
Features artist contributions from: Lawrence Weiner,Simon Denny, Nick Mauss, Monica Bonvicini, Jutta Koether, Mark Leckey, Elizabeth Peyton, and Cerith Wyn Evans.
Softcover, 256 pages, 11 x 18 cm
Published by Blue Rider Press / New York
$30.00 - Sold
A highly provocative, mindbending, beautifully designed, and visionary look at the landscape of our rapidly evolving digital era. 50 years after Marshall McLuhan's ground breaking book on the influence of technology on culture in "The Medium is the Massage," Basar, Coupland and Obrist extend the analysis to today, touring the world that's redefined by the Internet, decoding and explaining what they call the 'extreme present'. THE AGE OF EARTHQUAKES is a quick-fire paperback, harnessing the images, language and perceptions of our unfurling digital lives. The authors offer five characteristics of the Extreme Present (see below); invent a glossary of new words to describe how we are truly feeling today; and 'mindsource' images and illustrations from over 30 contemporary artists. Wayne Daly's striking graphic design imports the surreal, juxtaposed, mashed mannerisms of screen to page. It's like a culturally prescient, all-knowing email to the reader: possibly the best email they will ever read. Welcome to THE AGE OF EARTHQUAKES, a paper portrait of Now, where the Internet hasn't just changed the structure of our brains these past few years, it's also changing the structure of the planet. This is a new history of the world that fits perfectly in your back pocket. 30+ artists contributions: With contributions from Farah Al Qasimi, Ed Atkins, Alessandro Bavo, Gabriele Basilico, Josh Bitelli, James Bridle, Cao Fei, Alex Mackin Dolan, Thomas Dozol, Constant Dullaart, Cecile B Evans, Rami Farook, Hans-Peter Feldmann, GCC, K-Hole, Liam Gillick, Dominique Gonzalez-Foerster, Eloise Hawser, Camille Henrot, Hu Fang, K-Hole, Koo Jeong-A, Katja Novitskova, Lara Ogel, Trevor Paglen, Yuri Patterson, Jon Rafman, Bunny Rogers, Bogosi Sekhukhuni, Taryn Simon, Hito Steyerl, Michael Stipe, Rosemarie Trockel, Amalia Ulman, David Weir, Trevor Yeung.
Softcover, 416 pages (150 b/w ill.), 140 x 215 mm
Published by Sternberg Press / Berlin
$34.00 - In stock -
Edited by Brian Kuan Wood
Selections and responses by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr
Working in a number of contexts and capacities has shown Maria Lind to be a curator who, over time, has engaged in a rethinking of the art institution and the formats and methodologies connected with it, taking art itself as a starting point. Following on the various endgames outlined by institutional critique, Lind has forged paths out of hegemonic institutional regimes precisely by identifying other ways of working through them, from both inside and outside.
For Lind, writing is integral to her curatorial work. It is where she accounts for her decisions, explains her intention, justifies her interest, toys with new possibilities and develops new ideas, and recognizes historical precedents. It is where the craft of curating, already pointed out towards a public, finds another channel of articulation.
Selected Maria Lind Writing brings together twenty-two essays selected by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr.
The collection of essays spanning from 1997 to 2010 forms a tapestry of Lind's own interweaving interests, but also of those of a panel of readers invited by Lind to project their own concerns onto her corpus of writing. Essays on individual artists, monographic and group exhibitions, funding structures, new contexts and spatial paradigms, together comprise a rare opportunity to swivel a spotlight on its axis back towards a figure who always tries to aim it at what really matters.
Maria Lind is a curator and writer based in Stockholm. She was the director of the graduate program at the Center for Curatorial Studies, Bard College, 2008 to 2010. She was director of Iaspis in Stockholm 2005 to 2007 and from 2002 to 2004 was the director of Kunstverein München. From 1997 to 2001, Lind was curator at Moderna Museet in Stockholm, where she was responsible for Moderna Museet Projekt. She was co-curator of Manifesta 2 in 1998. Lind has contributed widely to magazines and other publications, as well as to numerous exhibition catalogues. She was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement.
Design by Liam Gillick
Softcover, 155 pages (b&w ill.), 23.5 x 18.5 cm
Published by Kann Verlag / Frankfurt
$48.00 - Sold
The San Francisco conceptualists Ant Farm (1968–1978) are rightly famous for their radical architecture (The House of the Century, 1973), iconic land art (Cadillac Ranch, 1974), and pioneering video/performance (Media Burn, 1975).
Much less well-known are Ant Farm’s projects in Australia. Yet it is undeniable that their 10 week visit to Australia in mid 1976 turned the group upside down in more ways than one. Importantly, the focus of their work shifted, with Oceania not only becoming an important base, but also a critical concept for the group. Central to this shift was perhaps Ant Farm’s most ambitious project, the Dolphin Embassy (1974–1978), and in January 1977 the group’s co-founder Doug Michels relocated to Sydney to establish a consulate there.
Until now, the historical accounts of Ant Farm have misrepresented and misunderstood the nature and extent of the group’s work in Australia. Equally, Ant Farm’s projects are invisible in any account of Australian art.
Ant Farm 1976–1978 Australia (KANN-Verlag, Frankfurt, 2014, 23.5 x 18.5 cm, b&w, 155 pages, edited by David Pestorius, with cover by Liam Gillick), is the first book devoted to the activities and critical reception of Ant Farm in Australia. It adopts a form favoured by Ant Farm — the photo-collage — and critically builds upon their artist’s book Dolphin Embassy (Log: 1976–1978), Sydney, Australia.
Hardcover, 212 pages, 25 x 32 cm
Published by DuMont / Köln
$57.00 - Sold
For more than 30 years, the German artist Isa Genzken (born 1948) has been amassing a body of work in sculpture, installation, photography, collage and film. As one of Germany's brightest stars in the art world, she was well suited to represent her country at the Venice Biennale in 2007, an occasion which this volume commemorates. The title of this book and of her installation at the German pavilion plays with the word's associations as a global and globally contested resource, through a series of sculptural installations invoking in particular America's dependence on oil. This heavy book colourfully documents this major body of new works from Venice in all their glory, through vast, glossy installation shots and abundant sculptural details.
Published by DuMont Buchverlag
Edited by Juliane Joan Rebentisch. Text by Vanessa J. Müller, Nicolaus Schafhausen, Liam Gillick.
"Anyone who has followed Isa Genzken's work over the last 15 years has faced a series of provocations. Provocation in this case flows in more than one direction. We are clearly faced with a form of art production over and above any other cultural commentary—a resolute art production. Yet through this very focus we are also forced away from art to reconsider our relationship with the way power structures evade "true" form in the world—the way insidious power structures leave misleading actual conglomerations of meaning. On top of this, when we skirmish with a work by Isa Genzken, we must think about all the other art being produced in the world. We must consider this while keeping in mind all her prodding and distracting of the complex layering within the contemporary cultural production. An unpeeling of visual form that takes place via an attack on the complex, contradictory melded forms, surfaces, and semiotic flows that result from Genzken's particular ungluing and re-lamination of potentials, signifiers, materials and modes of refusal."
Hardcover (w. dust jacket), 224 pages, 9 x 14.5 cm
1st Edition of 2000,
Published by Dent De Leone / London
$37.00 - In stock -
Artists’ Cocktails by Ryan Gander - A compendium of artists’ cocktails
with Åbäke, Allora & Calzadilla, Spencer Anthony, Cory Arcangel, Art & Language, Jesse Ash, Mary Aurory, Fiona Banner, David Batchelor, Justin Beal, Jacqueline Bebb, Vanessa Billy, Pierre Bismuth, Martin Boyce, Pavel Büchler, Dinos Chapman, Steve Claydon, Keren Cytter, Jeremy Deller, Joseph del Pesco, Anthony Discenza, Rose Duvall, Sean Edwards, Vivi Enkyo, Aston Ernest, Winnie Ernest, Abbé Faria, Claire Fontaine, Simon Fujiwara, Michael Fullerton, Martino Gamper, Ryan Gander, Mario Garcia Torres, Tom Gidley, Liam Gillick, Matt Golden, Rodney Graham, Irwin Green, Joseph Grigely, Sigurdur Gudmundsson, Drew Heitzler, Anton Henning, Mark Hix, The Hut Project, Pierre Huyghe, Taka Izumi, Christian Jankowski, Alan Kane, Jacob Kassay, Gabriel Kuri, Tim Lee, Gabriel Lester, Benoît Maire, Raimundas Malašauskas, Kris Martin, Christian Matthiessen, Alan Michael, Haroon Mirza, Jonathan Monk, Jody Monteith, Sarah Morris, Olivier Mosset, Shahryar Nashat, John Henry Newton, Carsten Nicolai, Olaf Nicolai, Nishikawa, David Noonan, Roman Ondák, Pratchaya Phinthong, Tobias Rehberger, David Renggli, Amanda Ross-Ho, Eran Schaerf, David Shrigley, Lucy Skaer, Bob and Roberta Smith, Nedko Solakov, Haim Steinbach, Santo Sterne, Jack Strange, Rirkrit Tiravanija, Mark Titchner, Santo Tolone, Simon Turnbull, Uri Tzaig, Francis Upritchard, Yonatan Vinitsky, Carl Michael von Hausswolff, Lawrence Weiner, Terrance E. White, Bedwyr Williams, Jesse Wine, John Wood & Paul Harrison, Cerith Wyn Evans...
“I have something for you, I’ll send it over. You know for four years now I have been trying to propagate shiso and it hasn’t grown. I tried everything: freezing and thawing the seeds, leaving them in the dark for a year, different temperatures and humidity… The seeds Taro sent me in February came up no problem, just in fine soil with a sheet of paper over the pot outside, no special equipment or lights. Crazy. The kitchen garden at home is now being taken over by green shiso plants with huge leaves everywhere. We have a glut, as the English call it. Fearful of it not reseeding and growing next year I’ve been stripping the leaves and producing shiso sugar syrup and shiso-infused vodka. The vodka is unbelievably good! I thought of proposing it to ABSOLUT as a new flavour. We’ll see. Anyway, I have a bottle for you! ”
Extract from: [Extracts from… ] A conversation between Ryan Gander and Masako Hosoi
Edited by Ryan Gander, Phil Mayer with editorial assistance by Holly Featherstone, Barnie Page and Anna Stoppa.
Design by Åbäke with Delphine Bourit.
Softcover, 306 pages, 15.5 x 23 cm
Published by Halmos / New York
$26.00 - In stock -
Samuel Madden, presented with Liam Gillick's "Prevision. Should the Future Help the Past?"
Written in 1733, Memoirs of the Twentieth Century is widely regarded to contain the earliest known conception of time-travel and, in particular, the first cognitive leap that would allow for a historicized image of the present as seen from the point of view of a distant future. Intriguingly, it is the text itself which is claimed to have traveled back in time and Madden has used this conceit to satirize his own period – tracing out its bureaucratic absurdities into a strange yet pointed vision of the late 20th century: a world politically fraught, overwhelmed with corruption and struggling to reconcile religious faith with scientific discovery.
The mysterious publishing history of the book imparts a certain weight to its claims. Printed anonymously in an edition of 1000, all but 10 copies were immediately destroyed for unknown reasons. It would only be printed once more in 1972 and until now Memoirs... has been extremely scarce – resulting in disappointingly little scholarship. This new edition includes Liam Gillick's Prevision. Should the Future Help the Past first published in 1999, the very year when Memoirs... leaves off. Gillick explores the socio-political implications inherent in strategic attitudes towards the future with a critical eye to the 'scenario planning' of late capitalism. It provides a prescient framework for reconsidering Madden's text now, just over ten years on since its fictive origination and apocalyptic conclusion.
To encourage further study, the complete text will be freely distributed electronically in conjunction with the limited edition hard-cover and a mass-market paperback.
Softcover, 376 pages, 17 b/w ill., 14 x 21 cm
Published by Sternberg Press / Berlin
$26.00 - Sold
Contributions by Beatrice von Bismarck, Gabriele Brandtstetter, Helmut Draxler, Liam Gillick, Dorothea von Hantelmann, Hannah Hurtzig, Pirkko Husemann, Maria Lind, Marion von Osten, Raqs Media Collective, Dorothee Richter, Irit Rogoff, Jörn Schafaff, Avinoam Shalem, Simon Sheikh, Barbara Steiner, Nora Sternfeld, Hito Steyerl, Anton Vidokle, Eyal Weizman, Thomas Weski, Tirdad Zolghadr
Cultures of the Curatorial assumes a curatorial turn in contemporary cultural practice and discourse. Encompassing a whole field of knowledge relating to the conditions and relations of the appearance of art and culture, the curatorial has developed as a field of overlapping and intertwining activities, tasks, and roles that were formerly divided and more clearly attributed to different professions, institutions, and disciplines. This development has affected the notion of curating—principally an activity of putting together—and widened its scope beyond showing or presenting to include enabling, making public, educating, analyzing, criticizing, theorizing, editing, and staging. Embedded in the globalization of the art field, on the one hand, and the conditions of labor in the twenty-first century, on the other, the curatorial has gained a specific sociopolitical relevance within contemporary society.
The publication aims to map the scope of perspectives from which this field of knowledge can be discussed. Coming from a variety of disciplines and professional backgrounds, the contributors exemplify the entanglement of theory and practice, consider recent developments within the curatorial field, allow self-reflexive analysis, and explore the conditions—disciplinary, institutional, economic, political, and regional—under which art and culture become public.
Copublished with Kulturen des Kuratorischen, Hochschule für Grafik und Buchkunst Leipzig
Design by Surface, Frankfurt am Main / Berlin
Softcover, 190 x 295 mm
Published by Afterall / London
$18.00 - Sold
Issue 29 features deals with the notion of contested and constructed histories. Featuring Moyra Davey, Eugenio Dittborn, Wendelien van Oldenborgh and Dierk Schmidt; accompanying texts look at cinematic space and the public sphere, the 'Useful Life' exhibition and R Kelly's hip-hopera.
"Temporality, Sociality, Publicness: Cinema as Art Project"
"The Operation Was a Success But the Patient Died"
"Pygmalion Desire in Les Goddesses"
Wendelien van Oldenborgh
"Interzone: On Three Works by Wendelien van Oldenborgh"
"Wendelien van Oldenborgh: ‘The past is never dead. It’s not even past.'"
"Disarmed and Equipped: Strategies, Politics and Poetics of the Image in Eugenio Dittborn’s Airmail Paintings"
"Correcaminos VII/ Roadrunner VII, 2012"
"No Man’s Land Paintings"
"Image Leaks: Dierk Schmidt’s Critical Opening of a Permeable Medium"
"Dierk Schmidt: Packing the Hard Potatoes"
Events, Works, Exhibitions
‘Useful Life’: Reflection Among Exhibition Frenzy (Shanghai, 2000)
Robert Kelly and Robert McNamara: Extended Narrative versus Data Mining
Soft plastic cover, 56 pages, 30.5 x 21.5 cm
Published by Mousse / Milan
$30.00 - Sold
This publication documents the monumental, collaborative work that Liam Gillick and Lawrence Weiner produced for the Antwerp museum of contemporary art MuHKA in the spring of 2011. Poignantly titled "A Syntax of Dependency:, the project could be viewed as the outcome of a twenty-year dialogue between the artists, their respective artistic practices and separate generations. This giant floor piece, consisting of an abstract linoleum pattern containing an array of phrases, took up the museum’s entire first floor - its site specifically meant that the end of the exhibition also entailed the work’s irreversible destruction. This photo novella - complete with fragments of a conversation between both artists and a short text by exhibition curator Dieter Roelstraete - captures the work in its unique desolate splendor.
Both softcover, 255 (vol.I) and 180 pages w. 45 colour ill. (vol. II), both 13 x 21 cm
Rare / Out-of-Print,
Published by Sternberg Press / Berlin
$60.00 - Sold
Set of both long out-of-print volumes!
Edited by Michael Hirsch, Vaness