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.
Softcover, 180 pages, 19.5 mm x 27.5 cm
Published by Bom Dia Boa Tarde Boa Noite / Berlin
$30.00 - In stock -
Con contribuciones de Moosje M. Goosen, Anne Huffschmid, Pablo Katchadjian, Federico Navarrete Linares, Sandra Rozental, Carlos Sandoval, Adam T. Sellen, Anna M. Szaflarski y Laura Valencia Lozada.
Ixiptla III explora el legado arqueológico y de qué manera este se expresa, se contamina o se disuelve en el presente. Moosje M. Goosen cuenta la historia de un arqueólogo alemán en Acámbaro y su colección de dinosaurios de barro falsos; Anne Huffschmid otorga un panorama de la historia de la antropología forense y su importancia en el presente en México en relación al estudio de las numerosas fosas comunes y el caso de los 43 estudiantes desaparecidos de Ayotzinapa; Pablo Katchadjian nos pregunta ¿Qué hacer?; Paula López Caballero cuenta la historia de Luz Jiménez y su rol como traductora, modelo e interprete, para entender distintas nociones de indigeneidad; Federico Navarrete Linares comienza un diálogo entre el concepto de Bajtin del cronotropo histórico y la relación entre el tiempo y el espacio en el cronotropo mesoamericano; Sandra Rozental compara las diferencias de uso, categorización y exhibición de Spolia en forma de tepalcates en Coatlinchan y el Museo Etnográfico en Berlín; Carlos Sandoval crea un Anti Lego con una colección de fragmentos de piezas arqueológicas; Adam T. Sellen hace la anatomía de una falsificación; Anna M. Szaflarski dibuja nudos con distintos significados componiendo un cuerpo imposible; y Laura Valencia Lozada presenta el inicio de un diálogo epistolar con los familiares de los desaparecidos en México.
Volumen III de Ixiptla se publica en el marco de la exposición ¿Quién medirá el espacio, quién me dirá el momento? Museo de Arte Contemporáneo de Oaxaca, México.
¿Quién medirá el espacio, quién me dirá el momento? se sitúa en la delgada línea que divide nuestra relación con los objetos, con las historias que elaboramos en torno a ellos. El punto de partida fue un repertorio de objetos, algunos de ellos arqueológicos, otros mecánicos, lúdicos o sintéticos; que fueron seleccionados en el presente, junto con Innovando la tradición y el taller de cerámica Coatlicue en Atzompa, Oaxaca. La selección fue el sustento para imaginar una serie de historias, que ahora se alzan cual columnas en el espacio expositivo.
El concepto nahua de ixiptla se ha traducido como imagen, delegado, sustituto o representante. Ixiptla podía ser una estatua, una visión o la víctima que se convierte en el dios destinado al sacrificio. Los varios ixiptlas del mismo dios podían ocurrir de manera simultánea. Ixiptla deriva de la partícula xip: piel, cobertura, cáscara; es el contenedor, la presencia reconocible, la actualización de una fuerza imbuida en un objeto: un ser ahí, removiendo la distinción entre esencia y materia, original y copia.
Ixiptla is biannual journal on trajectories of Anthropology
Vol. I (English) was published on the occasion of Expedite Expression, 8th Berlin Biennale for Contemporary Art, Berlin, 2014.
Vol. II (English and German) was published on the occasion of Parergon, Hamburger Bahnhof Museum für Gegenwart, Berlin.
Vol. III (Spanish) was published on the occasion of Who will measure the space, who will tell me the time?, Museo de Arte Contemporáneo de Oaxaca.
Softcover, 180 pages, 19.5 x 27.5 cm
Published by Bom Dia Boa Tarde Boa Noite / Berlin
$30.00 - In stock -
With texts by Kythzia Barrera, Maria Gaida, Moosje M. Goosen, Pablo Katchadjian, Paula López Caballero, Federico Navarrete Linares, Victoria Novelo Oppenheim, Sandra Rozental, Carlos Sandoval, Adam T. Sellen, Anna Szaflarski
The Nahua concept of ixiptla derives from the particle xip, meaning “skin,” coverage or shell. A natural outer layer of tissue that covers the body of a person or animal, the skin can be separated from the body to produce garments, containers for holding liquids or parchment as a writing surface.
Originally a Nahua word, ixiptla has been understood as image, delegate, character, and representative. Ixiptla could be a container, but also could be the actualization of power infused into an object or person. In Nahua culture, it took the form of a statue, a vision, or a victim who turned into a god destined to be sacrificed. Without having to visually appear the same, multiple ixiptlas of the same god could exist simultaneously. The distinction between essence and material, and between original and copy vanishes.
This edition of Ixiptla is focused on the trajectory of objects collected and produced by archeologists - plaster molds, facsimiles, drawings, photographs, and scale models -, in an attempt to capture and replicate material evidences left by time; these objects emerge from a specific moment in time, producing a doppelgänger of the original milieu, which then takes its own course. For this first issue, a group of anthropologists, archaeologists, artists, and writers have been invited to reflect on the role of the model, the copy, and reproduction in their areas of research and practice.
Ixiptla is a new biannual journal about trajectories of Anthropology, it has been initiated by the artist Mariana Castillo Deball.
The first issue is published on the occasion of Expedite Expression, 8th Berlin Biennale for Contemporary Art, Berlin, 2014.
Hardcover, 168 pages 36 colour ill. & 48 b/w ill.), 180 × 245 mm,
Published by Bom Dia Boa Tarde Boa Noite / Berlin
$47.00 - Out of stock
Roberto Calasso, in his essay “The Madness That Comes From the Nymphs,” relates how the first being Apollo addressed on Earth was a nymph. Her name was Telephassa, and she immediately tricked the god. Nymphs can be both saviors and devastators. They have an unpredictable character; they are powers who act suddenly, capturing and transforming their prey. Each of these invasions signals a metamorphosis. And each metamorphosis represents the acquisition of knowledge: a narrative possession.
“Uncomfortable Objects” belong to this category of creatures: products of desire, research, or imagination, they compel us to follow them, and to look through their eyes, until we are captured in their twisted nets and fall out of language.
Published on the occasion of the exhibition Zurich Art Prize 2012: Mariana Castillo Deball Museum Haus Konstruktiv, Zurich, September 27 – November 18, 2012.
Born 1975 in Mexico City, Mariana Castillo Deball lives and works in Berlin and Amsterdam.
With texts by Mariana Castillo Deball, Jimena Canales, Laurent Bartholdi, Abraham Cruzvillegas, Mario Bellatin, Daniel Saldaña, Victoria Cirlot
Softcover, 104 pages, offset/newsprint, 165 x 235 mm
Published by Dexter Sinister / New York
$27.5.00 - Out of stock
A W.A.S.T.E. of Ink (after Thomas Pynchon)
DDD16 was conceived parallel to—and is issued from under the wing of—the project 'True Mirror', directed from the Commander’s Room at the 7th Regiment Armory Building, New York between 4–23 March, 2008 and tracked at http://www.sinisterdexter.org. On reflection, we realised real news doesn’t need a press release.
The issue then draws liberally from three other interlocking projects, all founded by guest-co-editor Raimundas Malašauskas.
In this issue:
2009, English / German
84 x 59 cm
Published by Kölnischer Kunstverein / Köln
$18.00 - In stock -
Poster for ars viva 09/10: Geschichte/History exhibition at the Kölnischer Kunstverein featuring Mariana Castillo Deball, Dani Gal, Jay Chung & Q Takeki Maeda
Softcover w. dustjacket, 370 pages, 10.5 x 14.9 cm
Published by Sternberg Press / Berlin
$28.00 - In stock -
Interviews: Mai Abu ElDahab by Will Holder, Guy Ben-Ner by Jan Verwoert, Mariana Castillo Deball by Giovanni Carmine, Sancho Silva by Luca Cerizza, Michael Smith by Larissa Harris, Yael Davids by Frédérique Bergholtz, Mark Aerial Waller by Mike Sperlinger, Anne Daems by Ronald Van de Sompel, Chris Evans by Francesco Manacorda, Antonio Ortega by David G. Torres, Sharon Hayes by Roger Cook, Christian Jankowski by Raimundas Malašauskas, Michael Stevenson by Esperanza Rosales; glossary by Dexter Sinister
The publication includes a series of interviews with artists who exhibited at Objectif Exhibitions, Antwerp, over a two-year period, along with a collection of secondary and parallel material produced in collaboration with each artist. Ranging from the humorous to the pseudo-scientific, the artists discuss the methods by which their research is transformed into practice. Both the artists and the interviewers constitute a community of active and concerned arts practitioners who, through art-making, writing, curation and teaching, deal with issues of representation, behavioral patterns and historical legacy.
Co-published with Objectif Exhibitions
Design by Will Holder
Inside cover design by Frances Stark
2008, English / Spanish
Hardcover (cloth-bound), 15.5 x 22.5 cm, 272 page (50 color and 120 b/w ill.)
OUT OF PRINT,
Published by Sternberg Press / Berlin
$45.00 - Out of stock
This title is no longer in print.
Contributions by Mariana Castillo Deball, Guadalupe Espinosa, Jorge Ibargüengoitia, Jesse Lerner, Sonia Lombardo de Ruiz, Sandra Rozental, Adam T. Sellen, Gabriela Torres-Mazuera
Mexico’s relationship with archaeology is a complex one. In addition to studying the distant past through its material vestiges, it is deeply engaged in more recent aspects of politics, education, national identity, and public works. The various layers of its historical past are forever present, giving rise to continual interpretations, reconstructions, demolitions, and annexations. Mexico’s archaeology is resolved in the present and its history is being modified like city landscapes, public policies, and textbooks. The project These Ruins You See shifts between politics, history, heritage, and identity in an attempt to find, in the present, the vestiges of archaeological practice.
The publication contains a collection of found objects and exhumed artifacts, bringing together a number of texts and illustrations—some of them contemporary and others historical—on the history of collections and exhibitions of pre-Cortesian objects, as well as the manufacture of replicas, the shadowy world of forgers, the relocation of key objects, and related themes. The objective of all of this excavation and collecting is to bring into sharp relief the ideological baggage and the range of museographic practices that always and inevitably frame our perception of these objects.
This publication is part of the project These Ruins You See, it includes the project’s research, realization, and a series of specially commissioned essays. The project has manifested in different exhibitions, publications, and lectures. These Ruins You See was exhibited at the Museo de Arte Carrillo Gil from November 8, 2006 to February 28, 2007.
Design by Manuel Raeder and Mariana Castillo Deball