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 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.
$65.00 - In stock -
The history of Sarah Cottier Gallery’s first twenty years in a comprehensive reference volume.
An example of one of Australia’s most influential contemporary art galleries.
Twenty years, two hundred exhibitions, four venues, nearly one hundred artists. Ever since its arrival in 1994, Sarah Cottier Gallery has been one of Australia’s most courageous contemporary art galleries. The artists represented in this time, including John Armleder, Sydney Ball, Marco Fusinato, Matthys Gerber, John Nixon, Mike Parr, Koji Ryui and Gemma Smith, represent some of the hottest talent in contemporary art.
20/200 celebrates the first twenty years of the gallery and its artists in a pictorial format that illustrates the breadth of the twenty year experience. The book includes images of every one of the gallery’s two hundred exhibitions and includes the work of almost one hundred artists. The volume is hardcover bound with a timeless rounded spine and features a holographic foil on the the front cover. The individual works and specific highlights inevitably surrender to the vast, hypnotic rhythm of the volume’s breadth – as in the fairy tale conundrum of the dancing princesses, each is more beautiful than the last.
Includes the work of A.D.S. Donaldson, Martin Creed, Kerrie Poliness, Melinda Harper, Julian Dashper, John Armleder, Sydney Ball, Mikala Dwyer, Hany Armanious, Marco Fusinato, Matthys Gerber, John Nixon, Mike Parr, Koji Ryui, Mikala Dwyer, Hany Armanious, Matt Hinkley, Huseyin Sami, Robert Pulie, Julia Gorman, Simon Denny, Anne-Marie May, Gemma Smith, John Spiteri, Katherina Grosse, Mary Teague, Olivier Mosset, and many more!
Texts by Nicholas Chambers, Jason Marcou, Julie Fragar, Anna Waldmann, Amanda Rowell, Alan Cholodenko, Mark Titmarsh and Christopher Hanrahan.
Hardcover, 220 pages (colour & b/w ill.), 24.4 x 30 cm
Published by Black Inc / Melbourne
$60.00 - In stock -
On the eve of All the World's Futures at the 2015 Venice Biennale, Schwartz City is pleased to announce the publication of Let's Destroy Work, the first major monograph on Marco Fusinato. A comprehensive overview of the past two decades of Fusinato's projects in art and music, featured projects include FREE (1998–2004), a series of guerrilla performances in unsuspecting music stores around the world; Mass Black Implosion (2007–), an ongoing series of propositional scores; Aetheric Plexus (2009–2013), a viewer-triggered installation of white noise and white light; and TM/MF (2000), a collaborative project with Thurston Moore.
Included is new writing by Branden W. Joseph, Professor in Art History at Columbia University; a text by US-based music critic Byron Coley; and essays from insurrectional anarchist writer Alfredo M. Bonanno's publication 'Let's Destroy Work, Let's Destroy the Economy'. The book is rich in colour and mono illustrations of Fusinato's works, and a selection of reference images.
Marco Fusinato's practice references the rhetoric of radical politics (its ambitions and failures), noise as music and the conditions and conventions of conceptual art. Through wide-ranging forms of work in gallery contexts and performances, he foregrounds moments of disruption and impact in which lie the possibility of a shift in perception or change in the course of events. Fusinato performs regularly in the international experimental music underground, obliterating the guitar into improvised noise-spit tsunamis.
Softcover, 292 pages (b/w ill.), 12 × 17.8 cm
Published by Rainoff / Sydney / New York
$15.00 - In stock -
La fine del mondo has been produced by Marco Fusinato, Felicity D. Scott and Mark Wasiuta on the occasion of their contribution to the section Monditalia at the 14th International Architecture Exhibition of la Biennale di Venezia, June 7 to November 23, 2014.
Their installation, also titled La fine del mondo, is comprised of this print document along with sensor-triggered audio-visual components depicting related records from Turin’s Piper Club of 1966 and three Milanese centri sociali: Leoncavallo, Cox18, and Virus. Staging encounters between the Piper Club and centri sociali, both the print document and audio-visual format aim to provoke questions about the design and management of nightclubs and social spaces conceived as sites of political mediation and under the auspice of participation and self-governance. Arising before and after the late-1960s political eruptions in Italy, and marked by distinct patterns of cultural exchange, migration, and industrial transformation, the differences between—and continuities across—these environments speak in provocative ways to Italy’s imbrication within the wider system of global capital. What sort of apparatus, we ask, is materialized in each? The images and archival documents presented herein have been prepared with the assistance of, and in collaboration with, Andrea Membretti, Pietro Derossi, Elena Hileg Iannuzzi, and Marco Philopat.
Softcover, 126 pages (137 ill.), 17 x 20 cm
Published by MUMA / Victoria
$20.00 - In stock -
Extensive catalogue produced on the occasion of the exhibition "Pitch Your Own Tent: Art Projects | Store 5 | 1st Floor" curated by Max Delany, at Monash University Museum of Art, 23 June to 27 August 2005.
Featuring essays by Carolyn Barnes, Max Delany, Robyn McKenzie, Tessa Dwyer, Andrew Hurle, Danny Huppatz and Sarah Tutton.
Monash University Museum of Art presents Pitch Your Own Tent: Art Projects | Store 5 | 1st Floor, an exhibition and publication examining the recent history of contemporary Australian art from 1979-2002 through the activities and practices of three influential artist-run spaces: Art Projects, Melbourne 1979-1984, established by John Nixon; Store 5, Melbourne 1989-1993, established by Gary Wilson; 1st Floor, Melbourne 1994-2002, established by David Rosetzky.
The exhibition explores a strong lineage in the recent history of contemporary Australian art; of avant-garde, experimental and innovative practices and discourses developed by communities of artists through independent artist-run exhibition and publishing initiatives.
Each of the three respective artist-run spaces will be represented through one of MUMA's three galleries, which will provide the opportunity to represent each organisation in context, whilst also allowing a comparison of the ideas, modes of display, and material culture of each respective enterprise. One contention of the exhibition is the degree to which it is artists themselves who are responsible for the interpretation and writing of art history.
One important parameter that has been established within the curatorial framework is to involve only those works of art which were actually presented in the programs of the respective artist-run spaces, thereby invoking the forms, production values and materiality of the respective periods.
The title, Pitch Your Own Tent, makes reference to Gustave Courbet who pitched his own tent in front of the 1855 Exposition Universelle in Paris, to Ti Parks tents (one of which was exhibited at Art Projects and will be included in the exhibition), to Rikrit Taravanija's tent installed in front of the AGNSW, and to the perpetually provisional and itinerant nature of artist-run spaces generally.
Given that the programs of Art Projects, Store 5 and 1 st Floor were each ambitious, diverse and encompassed exhibition and publishing programs conducted over periods of 5-9 years, the exhibition will inevitably focus upon the principal artists, and selected works which have made influential and/or lasting contributions, or are strongly representative of innovative visual arts culture of the time.
Art Projects - Anti-Music, Tony Clark, Peter Cripps, John Davis, John Dunkley-Smith, Richard Dunn, Robert Jacks, Robert MacPherson, John Nixon, Imants Tillers, Ti Parks, Mike Parr, Peter Tyndall, Ania Walwicz, Jenny Watson.
Store 5 - Stephen Bram, Sandra Bridie, Tony Clark, Bronwyn Clark-Coolee, Marco Fusinato, Diena Georgetti, Melinda Harper, Gail Hastings, Anne-Marie May, John Nixon, Rose Nolan, Kerrie Poliness, Kathy Temin, Gary Wilson, Constanze Zikos.
1st Floor Artists and Writers Space - Amanda Ahmed, Guy Benfield, Kate Beynon, Martine Corompt, Michael Delany, Kate Ellis, Mira Gojak, Eliza Hutchison, Raafat Ishak, Brendan Lee, Andrew McQualter, John Meade, Sean Meilak, Callum Morton, David Noonan, Alex Pittendrigh, David Rosetzky, Jacinta Schreuder, John Spiteri, Lyndal Walker.
Text: Carolyn Barnes, Max Delany, Tessa Dwyer, D.J Huppatz, Andrew Hurle, Robyn McKenzie, Sarah Tutton, edited by Max Delany.
Softcover, 80 pages, 16.5 x 24.5 cm
1st Edition, Out of print title / As New,
Published by University of Queensland Art Museum / Brisbane
$25.00 - Out of stock
7 December 2000—24 February 2001
University of Queensland Art Museum, Brisbane
Monochromes was the first major survey in Australia of artists working with a single colour. It presented artworks produced over the previous 35 years by more than 45 Australian and foreign artists who have exhibited work of this nature in Australia. The approach adopted involved selecting one work by each artist and grouping them by colour. And rather than including only artists who might be considered 'hard-core' exponents of the painted monochrome, a more expanded view of monochromatic practice was embraced, one that acknowledged critical shifts in contemporary practice since the 1960s, with numerous conceptual and post-conceptual works presented.
A substantial catalogue, with an introduction by David Pestorius, commissioned essays by Andrew McNamara (QUT) and Morgan Thomas (UQ), and comprehensive installation view photo-documentation, was produced in the immediate aftermath of the exhibition.
artists: Ian Anüll (Zurich) Peter Bonde (Copenhagen) Peter Booth (Melbourne) Ian Burn (Melbourne) A.D.S. Donaldson (Sydney) Mikala Dwyer (Sydney) Andreas Exner (Frankfurt) Dale Frank (Brisbane) Marco Fusinato (Melbourne) Gail Hastings (Sydney) Leni Hoffmann (Düsseldorf) Robert Hunter (Melbourne) Robert Jacks (Melbourne) Gerold Miller (Berlin) Ian Milliss (Sydney) Elizabeth Newman (Melbourne) John Nixon (Sydney) Rose Nolan (Melbourne) Robert Owen (Melbourne) Wendy Paramour (Sydney Ti Parks (Melbourne) Mel Ramsden (Oxfordshire) Robert Rooney (Melbourne) Chris Wilder (Los Angeles) Heimo Zobernig (Vienna), and others.
$40.00 - In stock -
“When we separate music from life we get art.” John Cage
This catalogue presents the exhibition which was part of the 2008 Melbourne International Arts Festival, 21:100:100 featured 100 works by 100 sound artists produced in the 21st Century. This exhibition was the first significant survey to explore and chronicle the extraordinary developments that have occurred in contemporary sound art in the 21st century.
Curated by Alexie Glass, Emily Cormack, Marco Fusinato, Oren Ambarchi
Collaborators: Fabio Ongarato, Jared Davis, Kristy Edmunds
Today, Sound Art and Experimental Music enjoy an infrastructure all of their own, with journals, labels, music festivals and websites devoted to its critical and creative discussion. This ambitious concept was developed with the premise that the foundations of both sound art and contemporary art share a similar spirit of enquiry and experimentation, and whilst the discussion of their relationship is a lively one, this exhibition proved the first to present such a breadth of sound work to Australian audiences within a gallery context.
21:100:100 was developed by Gertrude Contemporary Art Spaces in collaboration with internationally acclaimed Australian artists Oren Ambarchi and Marco Fusinato. It included work made in the preceding eight years chronicling new directions and innovations in sound art. These works were played on 100 headphones suspended within the gallery, creating a space for the visitor to pick their way through sound art’s many and varied aural and conceptual evolutions.
As co-curator Alexie Glass has stated “Melbourne has always enjoyed an incredibly lively sound art community and has been a central site in the investigation and presentation of sound art in a music festival context. 21:100:100 provides a truly unique and crucial opportunity to fully engage with sound art, and to trace it’s varied thematic threads, and innovative stylistic developments. It is the first exhibition of its kind and is one of the most important sound art exhibitions in Australian history.”
The exhibition spanned a range of threads and styles within the art form, featuring work by a diverse selection of the worlds leading practitioners with artists including: ¾ Had Been Eliminated [Italy] Lucas Abela [Australia] Oren Ambarchi [Australia] Natasha Anderson [Australia] Thomas Brinkmann Philip Brophy [Australia] Brothers Of The Occult Sisterhood [Australia] Neil Campbell [UK] Eugene Carchesio [Australia] Andrew Chalk [UK] Chicks On Speed [Europe] Rod Cooper [Australia] Corrupted [Japan] Martin Creed (Owada) [UK] Alvin Curran Dead C [New Zealand] Jim Denley [Australia] The Donkey's Tail [Australia] Kevin Drumm [USA] Fennesz [Austria] Robin Fox [Australia] Cor Fuhler [Netherlands] Ellen Fullman [USA] Marco Fusinato [Australia] Alistair Galbraith [New Zealand] Bernhard Gunter [Germany] Will Guthrie [Australia] Keiji Haino [Japan] Florian Hecker [Germany] Joyce Hinterding [Australia] Kanta Horio [Japan] Ryoji Ikeda [Japan] Incapacitants [Japan] Jandek [Usa] Philip Jeck [UK] Rolf Julius [Germany] Junko [Japan] Kemialliset Ystavat [Finland] Christina Kubisch [Germany] Kuupuu [Finland] Alan Lamb [Australia] Graham Lambkin [UK] Annea Lockwood [Europe/Nz/USA] Francisco Lopez [Spain] Alvin Lucier [USA] Sachiko M [Japan] Lionel Marchetti [France] Christian Marclay [USA] Masonna [Japan] Maher Shalal Hash Baz [Japan] Mattin (Basque) Merzbow [Japan] Gordon Mumma Muura [Australia] Toshimaru Nakamura [Japan] New Blockaders [UK] Phill Niblock [USA] Hermann Nitsch No Neck Blues Band [USA] Jerome Noetinger [France] Jim O’rourke [USA] Optrum [Japan] Paeces [Australia] Charlemagne Palestine [USA] Paul Panhuysen [Netherlands] Pateras/Baxter/Brown Pita [Austria] Francis Plagne [Australia] Stephen Prina [USA] Eliane Radigue [France] Tom Recchion [USA] Rizili [Australia] Steve Roden [USA] Keith Rowe [UK] Runzelstirn + Gurgelstock [Switzerland] Philip Samartzis [Australia] Marcus Schmickler [Germany] David Shea [Australia/USA] Skaters [USA] Snawklor Michael Snow [Canada] Sonic Youth [Usa] Ssl (Robbie Avenaim/Dale Gorfinkel) [Australia] Striborg [Australia] Taku Sugimoto [Japan] Sun City Girls [USA] Sunn O))) [USA] Akio Suzuki [Japan] Yasunao Tone [Japan/USA] Toshiya Tsunoda [Japan] Voice Crack [Switzerland] Brendan Walls [Australia] Scott Walker [UK] Chris Watson [UK] Ralf Wehowsky [USA] Whitehouse [UK] Otomo Yoshihide [Japan] Richard Youngs (UK) Z'ev (USA)
Hardcover (cloth-bound), 208 pages (193 b/w ills.) + photograph insert, 219 x 313 mm
Edition of 25 (signed and numbered),
Published by Rainoff / Sydney / New York
$200.00 - Out of stock
Mass Black Implosion (Treatise, Cornelius Cardew) by Marco Fusinato has been published by Rainoff to coincide with the exhibition of the same title held at Anna Schwartz Gallery, Melbourne, 9th October – 16th November, 2013.
In his ongoing series Mass Black Implosion (2007–) Marco Fusinato takes scores by avant-garde composers, drawing lines from every original note to an arbitrarily chosen point as propositions for new noise compositions, or moments of extreme consolidation and intensity, as if every note were played at once.
Mass Black Implosion (Treatise, Cornelius Cardew) is a large-scale work based on seminal composition Treatise by the English experimental music composer Cornelius Cardew (1936 – 1981). This canonical work of modern Western music comprises 193 pages of graphic score: lines, symbols, and various geometric shapes that eschew conventional musical notation. It has been described as the most significant graphic score of the Twentieth Century.
This limited hardcover publication has been produced in an edition of 25 copies (signed and numbered) and presents all 193 parts of this monumental work by Marco Fusinato. Each score has been reproduced at 65% of its original size and is accompanied by a loose colour photograph documenting the installation.
Mass Black Implosion (Treatise, Cornelius Cardew) will be launched on 8th October, 2013 to coincide with the exhibition opening at Anna Schwartz Gallery and is available directly from Rainoff and World Food Books.
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.
$5.00 - In stock -
Published on the occasion of Marco Fusinato’s The Color of the Sky Has Melted, a major solo exhibition of the artist’s recent projects at the Institute of Modern Art, Brisbane and Artspace, Sydney in 2012.
Softcover / Concertina fold out, 6 pages (colour ill.),
Published by Art Gallery of New South Wales / Sydney
$20.00 - Out of stock
Catalogue to accompany a collaborative exhibition in 2005 at the Art Gallery of New South Wales
What do the clear records etched with drawings by Marco Fusinato and the frieze paintings by Mutlu Çerkez have in common? Both artists work across a number of mediums and on face value their practices are diverse so you may at first glance wonder what their art shares. Despite the visual differences, their artistic motivations are surprisingly consistent and therein lay the point and reason for working together.
For the Art Gallery of New South Wales' Level 2 Contemporary Project Space, Mutlu Çerkez will install a frieze above the doorways of the exhibition space. The frieze will read: 'MUTLU ÇERKEZ, 2004. Untitled: 23 November 2009.'. Marco Fusinato will exhibit clear records with etched grooves that copy his drawings. The records will be presented on shelves and in stacks. Çerkez and Fusinato are interested in time - Çerkez predicts the future through signs and language and Fusinato shifts time through motion at one remove; from drawing to unplayable record; from action to silence. In their collaborative endeavours Çerkez and Fusinato create abstract excursions about time and reality. Visually dissimilar, the result is overlaid with tension; a discourse between abstraction and representation and in some senses between past actions and future scenarios. The first collaborative project by Multu Çerkez and Marco Fusinato (both born 1964) was at Gertrude Contemporary Art Spaces, Melbourne 2003. Mutlu Çerkez & Marco Fusinato is their second collaborative endeavour. Their respective works were included in the exhibition Art >Music at the Museum of Contemporary Art, Sydney 2001. Further exhibitions by Marco Fusinato include VEZE/CONNECTIONS, contemporary artists from Australia, Hdlu, Zagreb and Mestna Gallery, Ljubjana 2002; TM/MF (Thurston Moore - Sonic Youth/ Marco Fusinato) Australian Centre for Contemporary Art, Melbourne 2000 and Primavera, Museum of Contemporary Art, Sydney,1998. Further exhibitions by Mutlu Çerkez include Fieldwork: Australian Art 1968-2002, National Gallery of Victoria at Federation Square, Melbourne 2002; 6th Istanbul Biennial, Istanbul, Turkey 1999 and Sao Paolo Biennale, Sao Paolo, Brazil 1998.
6 February - 20 March 2005
Art Gallery of New South Wales
Level 2 Contemporary Project Space