World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme 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
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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Australian Art
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'Pataphysics / Oulipo
Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"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.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
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.”
“Food Bazaar”
“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".
John Nixon
"Archive"
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.
"Habitat"
at Minerva, Sydney (organised 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
Press Release:
“...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.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
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
"Aesthetic Suicide"
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.
2005, Japanese
Hardcover (w. dust jacket), 208 pages, 20.6 x 18.8 cm
1st Edition, Out of print title / used / fine
$150.00 - Out of stock
First edition of this incredible out of print Japanese hardcover book collection of record cover artwork from every corner of the imagination. Not just another collection of the historical or award winning, this book, subtitled "A New Design Guide For Graphic Designers", comprises roughly 240 colour reproductions of record sleeves selected by 17 contemporary artists/musicians/designers, mostly from Japan, as their favourite. Those selecting include Åbäke, EYE (Yamantaka Eye), Nagi Noda, Keiji Itō, Masami Akita (Merzbow), Skate Thing, and many more. Spanning everything from private press psych to hip house, this dizzying collection includes sleeves for Frankie Knuckles, Carcass, Renegade Soundwave, The Haters, Roedelius, DJ Screw, Tululah Moon, Family Fodder, The Tubes, György Ligeti, Psychic TV, Pan-Sonic, Liliput, Deskee, Rich Kids on LSD, Snakefinger... A collection you'd never find anywhere else. Includes full index, data, and captions in Japanese under each selection. A must for the lover of one of the purest forms of artistic expression, the record cover.
Fine copy w. dust jacket.
2013, Japanese
Softcover, 244 pages, 21 x 14.5 cm
1st Edition, Out of print title / as new
Published by
Disc Union Books / Tokyo
$160.00 - Out of stock
Long out-of-print and sought after Japanese disc guide devoted to noise and Industrial music — the only one of its kind, issued by the legendary Disc Union in 2013, and edited by Tamotsu Mochida, Japanese music critic specialising in Noise music and a famous Avant-Garde buyer at Disk Union for many years.
"... Due to the wide range of (anti-)musicality and the difficulty of archiving works due to the artists' excessive minor orientation, a so-called "disc guide" has never been published until now. This book is a step in that direction. It presents both easily accessible and almost impossible to find works side by side, and clearly organizes and catalogs the bottomless world of "industrial music""—blurb
The book comprises chronological sections: Classics, Experimental, Harsh/Power Electronics, Beat Noise, Extreme, Japanoise, further broken down into micro-genres and pulling in more historical influencers, with 511 selected record essentials, each with a write-up (in Japanese) album cover artwork, and all meticulously indexed. Includes accompanying essays in Japanese and further scattered graphics throughout.
Includes: SPK, Merzbow, Chrome, Hanatarashi, Throbbing Gristle, Grim, Psychic TV, Coil, Chris & Cosey, Club Moral, Nurse with Wound, Aube, Ramleh, Whitehouse, H.N.A.S., Masonna, Clair Obscur, Cabaret Voltaire, Gum, Anne Gillis, Controlled Bleeding, Einstürzende Neubauten, Makers of the Dead Travel Fast, Kapotte Musiek, Current 93, Nord, The Legendary Pink Dots, Boyd Rice, NON, Organium, MB, The New Blockaders, Laibach, Andrew Chalk, Ministry, Genocide Organ, Death in June, Foetus, Brume, AMM, Nihilist Spasm Band, White Hospital, Godflesh, Colin Potter, Vidna Obmana, Toll, Destroy All Monsters, Die Form,The Young Gods, Bastard Noise, Lard, Clock DVA, K.K.Null, Esplendor Geométrico, Muslimguze, Voice Crack, Charles Manson, Lemon Kittens, MSBR, Metabolist, Dead C, William Burroughs, Dome, Meat Beat Manifesto, John Cale, Monte Cazza, Hunting Lodge, The Hafler Trio, La Syndicat, Werkbund, Skullflower, Atrax Morgue, Cut Hands,Prurient, Con-Dom, Sutcliffe Jügend, The Grey Wolves, Front Line Assembly, Dark Day, Nocturnal Emissions, and many many more....
As New.
1990, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
Vol. 1 (March 1990) of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Hitomi Kudo, Hana Inoue, Tomoko Nakano, Keiko Oda, Sueka Abe, Masami Akita (Merzbow), Manami Harada, Akihiro Yamada, Hisao Kai, Domu Kitahara, Eri Kikuchi, Mari Nishizaki, Yokoyama Kouji, Aida Yuko, Ayano Makoto, Sugita Mari, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1991, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
July 1991 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Kaoru Hanano, Ryoko Narumi, Koji Yokoyama, Hitomi Nishina, Masami Akita (Merzbow), Rudolf Schwarzkogler, Domu Kitahara, Kazuya Ota, Erina, Jiro Ishikawa, Nao Saejima, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1992, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Shishobo / Tokyo
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
May 1992 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Junji Ito, Masami Akita (Merzbow), Nao Saejima, Seiu Ito, Domu Kitahara, Issei (Kobe Cannibal) Sagawa, Yukinori Fukushima, Ryuko Yano, Mika Mori, Hiroko Mugibayashi, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1992, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
September 1992 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Chimuo Nureki, Romain Slocombe, Masami Akita (Merzbow), Trevor Brown, Issei (Kobe Cannibal) Sagawa, Russ Meyer, Naito Hisashi, Mako Komuro, Koji Yokoyama, Domu Kitahara, Nao Saejima, Sahoko Koizumi, Non Kizuki, Lalako Kojima, Momoko Kotobuki, Naohiro Ukawa, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
Very Good copy.
1997, Japanese
Softcover (w. dust jacket and obi-strip), 256 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Core Magazine / Tokyo
$120.00 - Out of stock
Don't judge a book by it's cover — you've been warned! Straight out of the young nihilist 90s, the third volume of the very short-lived and absolutely demented Seikimatsu Club (End of the Century Club), published in Tokyo between 1996—2000 for a total of only five volumes. This third volume, "The World You Don't Know", has the feature theme of exposing "a reality erased from everyday life", which sums it up... packed to the absolute brim with "freaks, corpses, bestiality, autopsies, fetal executions, lynchings, traffic accidents, plane crashes, amputee, heteromorphic animals, freak shows, corpse museums, shemales, etc. A shocking document that eliminates all fiction (all genuine)!"
With contributors to this issue including Masami Akita (Merzbow), Masaaki Aoyama (author), Kiyotaka Tsurisaki (corpse photographer), Hideshi Hino (horror manga artist / Guinea Pig director), Kotaro Kobayashi (Too Negative editor-in-chief), Trevor Brown (artist), you should know what you are getting yourself into.
Following the trajection of fellow Japanese abnormal subculture magazines such as Kotaro Kobayashi's notorious Too Negative, Ultra Negative, ORG, etc., and in the spirit of a new wave of 90's nihilist publishing around the world (Answer Me!, Killing Times, Fuck!, AMOK, Feral House, etc.) End of the Century Club stares directly into the dark recesses of humanity and presents its viewers with the uncompromising extremes of our global culture. The real stuff. Where Too Negative presents itself as a glossy colour photo/art magazine, End of the Century Club is almost like a Whole Earth Catalog to the authentic macabre. With articles, interviews, reports, catalogues and hundreds of images spanning all manner of medical/autopsy/corpse photography, death journalism, serial killers, formalihide babies, war/shock accident/crime scenes, human intersection, murder art show, lobster boy, 3D stereo photography hall of horrors, donkey fucker (please no!), strange diseases of the world, amputee lovers, siamese twins, deformed children, amazing Photo Press historical stories, animal deformities, huge Hideshi Hino art gallery, book guide and interview, ALARMA! photo gallery, Trevor Brown art gallery, corpse photography, columns and features on and by Kiyotaka Tsurisaki (Death, Hardcore Works, Too Negative, Ultra Negative, Billy, etc.), Father Yod (YaHoWha 13) record guide, Medical Atlas by Naruhiko Tanaka, lots of noise record reviews by Masami Akita (Merzbow) inc. Smell & Quim, M.B., Lustmord, Ramleh, Genocide Organ, Richard Ramirez, Agoraphobic Nosebleed, Whitehouse, Extreme Hair Stench, Genital Masticator, Traci Lords Loves Noise, Morder, etc., interview with artist Wes Benscoter (heavy metal illustrator for Slayer, Mortician, Kreator, Deceased, Cattle Decapitation, etc) on the occasion of his NG Gallery body painting show, complete Freak book library, and all sorts of other curios from the mondo, bizarro realm. Lots of full colour gore.
Not for the fain-hearted. You'll feel like a shower after.
Very Good copy with dust jacket and obi.
1993, Japanese
Hardcover (w. dust jacket), 220 pages, 13.6 cm x 19.4 cm
1st Edition, Out of print title / used / fine
Published by
Seikyūsha / Tokyo
$110.00 - Out of stock
New Tribalism In Sexual City, Prick Up, Rubbers, Gay Fetishism, Consensual SM, Modern Primitives, Pre-Tech Tattoo, Fakir Musafar, Ignore the White Culture, Body Manipulation, Hyper Pornography, Harrison Marks, Allen Jones, She-Male, Mannequin, Kinbaku, Seppuku, Kyoko Hamura, Rightbrain, Trevor Brown, Roman Slocombe, Medical Art, Forest Of Guts, Auto Erotic, J. P. Witkin, Anatomic Images, Discipline, Yves Klein, Piero Manzoni, Otto Mühl, Hermann Nitsch, Rudolf Schwarzkoglar, Aktion, Meat Performance, Trans-Gender, Transmutation, John Gacy, Ed Gain, Death ...
First hardcover edition of "Terminal Body Play", written by Merzbow's Masami Akita and published only in Japan in 1993. Covering all the above subjects with b/w illustrations, "Terminal Body Play" explores a plethora of physical utopias, including a revived ancient culture of body decoration and manipulation, the pleasure of the body perverted by BDSM, the dematerialised body of performance art, the aesthetics of murder, medicine and anatomy, and so much more. Merzbow is a noise project created in Tokyo, Japan in 1979 under the direction of noise technician Masami Akita. As well as a legendary underground noise artist, Akita is a prolific writer in Japan and frequently writes on the arts, music, erotica, esoterica, modern architecture, and animal rights, with articles on emerging subcultures and underground extreme cultures appearing in publications like SM Sniper, Studio Voice and Fool's Mate. His development of the Merzbow aesthetic ran parallel with a series of investigative books in which he catalogued and introduced a vast amount of hermetic types of music, sexual practices and autonomous creativity to a fairly conservative (but not close-minded) Japanese audience. "Terminal Body Play" is one of these very books.
First edition, Japanese text, fine copy with fine "textured" and illustrated dust jacket.
1981, Japanese
Softcover, 112 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare early issue of the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. Fool's Mate Vol. 19 December 1981. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/coffee shop adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This issue with cover feature on "Psychic Youth" with features on This Heat, Robert Wyatt, Chris Cutler, Art Bears, Recommended Records, Throbbing Gristle, Keiji Haino, Fred Frith, Merzbow, King Crimson, Peter Hammill, Massacre, Holger Czukay, Can, The Cure, Bauhaus, Dome, New Order, Joy Division, P.I.L., Pungo, Neo Tendency, and much more. Highly recommended to any fan of such things.
Very Good copy. General wear/age.
2023, English
Hardcover, 580 pages, 24 x 17 cm
Published by
Korm Plastics / Netherlands
$70.00 - Out of stock
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
This book is a reprint of all 44 issues and is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
2023, English
Softcover, 232 pages, 24 x 17 cm
Fourth expanded edition,
Published by
Korm Plastics / Netherlands
$40.00 - Out of stock
In 1992, Frans de Waard (of Kapotte Muziek, Beequeen and the Korm Plastics label) was asked to work for Staalplaat, then one of the biggest independent labels for experimental and electronic music. Staalplaat was the home for bands like Muslimgauze, :zoviet*france:, Rapoon, O Yuki Conjugate as well as Jaap Blonk, Normally Invisible and Kingdom Scum. With an average of three new releases every month, Staalplaat remained a major player for the next eleven years. Hired to set-up a database and to sell and buy new music, Frans de Waard over the years also assumed a role as (unofficial) business director and A&R man, and came to be regarded as the head honcho. In 2003 he’d had enough and decided to quit.
This book tells his story about those eleven years, the many high and as many lows of working for a small independent record label, which also functioned as a shop, mail order, radio programme, news outlet, and concert organiser. It’s about embarrassing confrontations with musicians, labels, distributors, and the endless spending on the most unique packaging CD-land ever saw.
The book includes an interview with Staalplaat founder Geert-Jan Hobijn, a transcript of a radio interview with Muslimgauze, a 1980’s account of Staalplaat’s activities, and a discography, among others. This might be a suitable reading for everyone with an interest in the experimental music scene, and anyone else who wants to read a crazy, funny and sad story about a small struggling record label.
The second edition is expanded with two more appendixes, one about John Cage and one about things found and lost, 2016-2019. Also, anyone who is interested in a manual of how (not) to run your record label might want to take notes.
"Before reading this, I had some doubts about Frans’ ability to write something so captivating and downright fucking funny. I’ve worked with him myself before, plus we have met a few times, and I always had this impression he was a somewhat sombre, serious type (an impression maintained by his reviews), but This is Supposed to be a Record Label shatters this completely. The man ought to put down his pipe long enough to get another book out because he certainly knows how to tell a story." - Adverse Effect
"Although familiar with his work in sound and music, I hadn’t had the chance to hear de Waard’s writer voice until I came across his long-running music review newsletter, Vital Weekly. The matter-of-factness reflects the brutal honesty of his assessments. A dry, wicked sense of humor is always close to the surface. De Waard’s keen observational eye made This Is Supposed to Be a Record Label a must-read for anybody interested in underground sounds." - Hyperallegric.com
1991, Japanese
Softcover, 160 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - Out of stock
Issue No.40 of the great SALE2 periodical from Tokyo Japan during the late 1980s and early 1990s.
Published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. Each issue covers different themes and features, heavy on fetishism.
Issue No.40, the "Skin To Skin" issue features collected writings and images around the themes of body art, tattoo, piercing, bondage, "modern primitivism", etc. including Masami Akita (Merzbow), Mari Akasaka, Kyoko Okazaki, performance artist Fakir Musafar, Irving Klaw, Betty Page, many artists, plus imagery/advertisements/clippings/artworks by Carlo Mollino, Pierre Molinier, John Willie, Guido Crepax, more Irving Claw, more Betty Page, comix and periodicals such as Sweet Gwen's, Bizarre, Gwendoline, Rigorosa Disciplina, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
2022, English
Hardcover, 224 pages, 22 x 29 cm
Published by
Masala Noir / Paris
$89.00 - Out of stock
A visual archive of Noise vinyl and cassette covers, 1980—1990. Merzbow, Bourbonese Qualk, Maurizio Bianchi (MB), Controlled Bleeding, The Haters, Whitehouse, Le Syndicat, Broken Flag, Anti-Music, Borbetomagus, Sonic Youth, Sonic Death, ZSF Produkt, Ramleh, P16.D4, Area Condizionata, Kleistwahr, Masonna, DD. Records, Alto Stratus, Boredoms, Pussy Galore, Septiembre Negro, GG Allin, Lokomotiv S.S., Giancarlo Toniutti, The New Blockaders, Club Moral, Coup De Grace, H.N.A.S., Come Organisation, Birthbiter, Consumer Electronics, Minamata, Mauthausen Orchestra, Pain Teens, S·Core, The Gerogerigegege, Psychic T.V., Sonic Violence, Epitapes, ZG Music, Recloose Organisation, Con-Dom, Deviant & the Clones, Skullflower, Pure, Thee Un-Kommuniti, Skullflower, Putrefier, Ethnic Acid, and many many more.......
1998, Japanese
Softcover, 310 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
$80.00 - Out of stock
January 1998 issue of S&M Sniper, the cult glossy fetish magazine published in Japan between 1979 - 2009 that, unlike previous SM magazines, didn't centre so much around professional kinbakushi, favouring instead the exploration of new innovations of fetish and underground sex culture and emphasising the work of the models, stylists, make-up artists, and fashions designers, as much as the writers or photographers. The "new wave" of SM culture, embedded in 1980s underground music, fashion and visual art culture in Japan. Explicitly and profusely illustrated, issues are packed from cover-to-cover with all manner of SM and fetish photoshoots, illustrations, comics, essays, diaries, reports, exhibitions, reviews, interviews, and included regular contributors such as Masami Akita (Merzbow), Kazuo Kamimura, Domu Kitahara, Makoto Orui, Kinichi Tanaka, Nobuhiko Ansai, Masaaki Toyoura... Each issue is also brimming with amazing Japanese advertisements and classifieds for the latest bondage clubs, boutiques, fashion, toys, video and publication catalogues, hook-ups, phone sex, and much more. This issue includes Nobuyoshi Araki, Takashi Homma, Ken-ichi Murata, Masami Akita, Toyoura Masaaki, Aki Tanaka, Koji Nakano, Junko Takahashi, Tetsuo Amano, Domu Kitahara, Mayumi Oda, Gaijin Tokuno, all the usual and more... Not for the faint of heart.
Very Good copy.
1989, Japanese
Softcover, 128 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fuji Kikaku / Tokyo
$55.00 - Out of stock
Rare first issue of Kinbiken Communications, the very special bulletin of "Kinbiken", a bondage enthusiast circle founded in tokyo in 1985 by bondage master Chimuo Nureki (who also produced the magazines Kitan Club and Uramado), and photographer Akio Fuji. The bulletin began in 1989, running for 10 years to produce 23 issues, with contributions by Chimuo Nureki, Akio Fuji, Katsuya Kasui, Masami Akita (Merzbow), Yuri Sunohara, Asoji Muroi, Akira Minomura, and other members of the club. The object of the club is to study the beauty of bondage, observing the techniques of master Nureki through a membership with one of the most distinctive facets of the club being that the bondage women participate as members themselves. Says Nureki, “One of the main reasons I started this circle was to provide a facility for masochistic women, who are often misunderstood and therefore despised.” The bulletin is illustrated throughout with examples of bondage and various acts of SM that second as a catalogue of the legendary videos the circle produced throughout the period. Merzbow himself often producing the soundtracks to these performances. The articles (in Japanese) trace the history these activities, and also contextualise and theorise BDSM into broader literary and arts culture, including Masami Akita (Merzbow) writing articles about film and experimental music in relation. Nureki's role as a writer and historian (as well as practitioner) of this culture has been very influential, and is no better documented than in his own journal here. The magazine also features the circle's other project named “Right Brain”, under the leadership of Yuri Sunohara. While Kinbiken is based upon bondage, this project explores a far more extreme realm, including hara-kiri, rubber, gas masks, etc. The imagery throughout is some of the most striking and aesthetic. A very unique magazine.
Please see first five issues posted on our website, but more later issues are available.
All issues in Very Good condition, well preserved.
1989, Japanese
Softcover, 112 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fuji Kikaku / Tokyo
$55.00 - Out of stock
Rare second issue of Kinbiken Communications, the very special bulletin of "Kinbiken", a bondage enthusiast circle founded in tokyo in 1985 by bondage master Chimuo Nureki (who also produced the magazines Kitan Club and Uramado), and photographer Akio Fuji. The bulletin began in 1989, running for 10 years to produce 23 issues, with contributions by Chimuo Nureki, Akio Fuji, Katsuya Kasui, Masami Akita (Merzbow), Yuri Sunohara, Asoji Muroi, Akira Minomura, and other members of the club. The object of the club is to study the beauty of bondage, observing the techniques of master Nureki through a membership with one of the most distinctive facets of the club being that the bondage women participate as members themselves. Says Nureki, “One of the main reasons I started this circle was to provide a facility for masochistic women, who are often misunderstood and therefore despised.” The bulletin is illustrated throughout with examples of bondage and various acts of SM that second as a catalogue of the legendary videos the circle produced throughout the period. Merzbow himself often producing the soundtracks to these performances. The articles (in Japanese) trace the history these activities, and also contextualise and theorise BDSM into broader literary and arts culture, including Masami Akita (Merzbow) writing articles about film and experimental music in relation. Nureki's role as a writer and historian (as well as practitioner) of this culture has been very influential, and is no better documented than in his own journal here. The magazine also features the circle's other project named “Right Brain”, under the leadership of Yuri Sunohara. While Kinbiken is based upon bondage, this project explores a far more extreme realm, including hara-kiri, rubber, gas masks, etc. The imagery throughout is some of the most striking and aesthetic. A very unique magazine.
Please see first five issues posted on our website, but more later issues are available.
All issues in Very Good condition, well preserved.
1989, Japanese
Softcover, 128 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fuji Kikaku / Tokyo
$55.00 - Out of stock
Rare third issue of Kinbiken Communications, the very special bulletin of "Kinbiken", a bondage enthusiast circle founded in tokyo in 1985 by bondage master Chimuo Nureki (who also produced the magazines Kitan Club and Uramado), and photographer Akio Fuji. The bulletin began in 1989, running for 10 years to produce 23 issues, with contributions by Chimuo Nureki, Akio Fuji, Katsuya Kasui, Masami Akita (Merzbow), Yuri Sunohara, Asoji Muroi, Akira Minomura, and other members of the club. The object of the club is to study the beauty of bondage, observing the techniques of master Nureki through a membership with one of the most distinctive facets of the club being that the bondage women participate as members themselves. Says Nureki, “One of the main reasons I started this circle was to provide a facility for masochistic women, who are often misunderstood and therefore despised.” The bulletin is illustrated throughout with examples of bondage and various acts of SM that second as a catalogue of the legendary videos the circle produced throughout the period. Merzbow himself often producing the soundtracks to these performances. The articles (in Japanese) trace the history these activities, and also contextualise and theorise BDSM into broader literary and arts culture, including Masami Akita (Merzbow) writing articles about film and experimental music in relation. Nureki's role as a writer and historian (as well as practitioner) of this culture has been very influential, and is no better documented than in his own journal here. The magazine also features the circle's other project named “Right Brain”, under the leadership of Yuri Sunohara. While Kinbiken is based upon bondage, this project explores a far more extreme realm, including hara-kiri, rubber, gas masks, etc. The imagery throughout is some of the most striking and aesthetic. A very unique magazine.
Please see first five issues posted on our website, but more later issues are available.
All issues in Very Good condition, well preserved.
1990, Japanese
Softcover, 128 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fuji Kikaku / Tokyo
$55.00 - Out of stock
Rare fourth issue of Kinbiken Communications, the very special bulletin of "Kinbiken", a bondage enthusiast circle founded in tokyo in 1985 by bondage master Chimuo Nureki (who also produced the magazines Kitan Club and Uramado), and photographer Akio Fuji. The bulletin began in 1989, running for 10 years to produce 23 issues, with contributions by Chimuo Nureki, Akio Fuji, Katsuya Kasui, Masami Akita (Merzbow), Yuri Sunohara, Asoji Muroi, Akira Minomura, and other members of the club. The object of the club is to study the beauty of bondage, observing the techniques of master Nureki through a membership with one of the most distinctive facets of the club being that the bondage women participate as members themselves. Says Nureki, “One of the main reasons I started this circle was to provide a facility for masochistic women, who are often misunderstood and therefore despised.” The bulletin is illustrated throughout with examples of bondage and various acts of SM that second as a catalogue of the legendary videos the circle produced throughout the period. Merzbow himself often producing the soundtracks to these performances. The articles (in Japanese) trace the history these activities, and also contextualise and theorise BDSM into broader literary and arts culture, including Masami Akita (Merzbow) writing articles about film and experimental music in relation. Nureki's role as a writer and historian (as well as practitioner) of this culture has been very influential, and is no better documented than in his own journal here. The magazine also features the circle's other project named “Right Brain”, under the leadership of Yuri Sunohara. While Kinbiken is based upon bondage, this project explores a far more extreme realm, including hara-kiri, rubber, gas masks, etc. The imagery throughout is some of the most striking and aesthetic. A very unique magazine.
Please see first five issues posted on our website, but more later issues are available.
All issues in Very Good condition, well preserved.
1990, Japanese
Softcover, 144 pages, 15 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fuji Kikaku / Tokyo
$55.00 - Out of stock
Rare fifth issue of Kinbiken Communications, the very special bulletin of "Kinbiken", a bondage enthusiast circle founded in tokyo in 1985 by bondage master Chimuo Nureki (who also produced the magazines Kitan Club and Uramado), and photographer Akio Fuji. The bulletin began in 1989, running for 10 years to produce 23 issues, with contributions by Chimuo Nureki, Akio Fuji, Katsuya Kasui, Masami Akita (Merzbow), Yuri Sunohara, Asoji Muroi, Akira Minomura, and other members of the club. The object of the club is to study the beauty of bondage, observing the techniques of master Nureki through a membership with one of the most distinctive facets of the club being that the bondage women participate as members themselves. Says Nureki, “One of the main reasons I started this circle was to provide a facility for masochistic women, who are often misunderstood and therefore despised.” The bulletin is illustrated throughout with examples of bondage and various acts of SM that second as a catalogue of the legendary videos the circle produced throughout the period. Merzbow himself often producing the soundtracks to these performances. The articles (in Japanese) trace the history these activities, and also contextualise and theorise BDSM into broader literary and arts culture, including Masami Akita (Merzbow) writing articles about film and experimental music in relation. Nureki's role as a writer and historian (as well as practitioner) of this culture has been very influential, and is no better documented than in his own journal here. The magazine also features the circle's other project named “Right Brain”, under the leadership of Yuri Sunohara. While Kinbiken is based upon bondage, this project explores a far more extreme realm, including hara-kiri, rubber, gas masks, etc. The imagery throughout is some of the most striking and aesthetic. A very unique magazine.
Please see first five issues posted on our website, but more later issues are available.
All issues in Very Good condition, well preserved.
2008, English
Hardcover, 367 pages, 22.3 x 17.2 cm
Published by
Gertrude Contemporary / Melbourne
MONA / Hobart
$40.00 - Out of 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)