World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Book shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2016, English / German
Softcover, 162 pages, 24 x 34 cm
Published by Bielefelder Kunstverein / Germany Kunstverein Nürnberg – Albrecht Dürer Gesellschaft Sternberg Press / Berlin
$42.00 - In stock -
Edited by Simone Neuenschwander, Thomas Thiel
With contributions by Emmanuel Alloa, Neïl Beloufa, Clare Birchall, Juliette Blightman, Ryan Gander, Calla Henkel and Max Pitegoff, David Horvitz, Metahaven, Simone Neuenschwander, Katja Novitskova, Yuri Pattison, Manfred Schneider, Thomas Thiel
The globalized world seems at once transparent and opaque. The exhibition project “Transparencies” examined the cultural facets and atmospheres of these (non-)transparencies. The two-part, joint exhibition project in Bielefeld and Nuremberg was dedicated to developments in “transparent society,” asking how these are reflected in the current work by contemporary artists. The paradigm of transparency and the ambivalence of the term was addressed by participating artists in multiple, diverse ways. This book documents both exhibitions and outlines all of the contributions to this substantial project. Conceptually designed by Metahaven, it contains artistic statements and scientific essays that encourage an ongoing discussion of the subject.
Copublished with Bielefelder Kunstverein and Kunstverein Nürnberg – Albrecht Dürer Gesellschaft
Design by Metahaven
2016, English / Portuguese
Softcover, 168 pages, 15,5 x 22 cm
Published by Mousse Publishing / Milan
$39.00 - In stock -
João Laia, ed.
Texts by Stephanie Bailey, Paulo Cunha E Silva, Attilia Fattori Franchini, João Laia, João Ribas, Alex Ross, David Santos, Andrey Shental, Eleanor Ivory Weber, Rósza Zita Farkas
This publication has been produced in the framework of “Hybridize or Disappear”, a group exhibition with works by Cécile B. Evans, Neïl Beloufa, Antoine Catala, Diogo Evangelista, Oliver Laric, Shana Moulton, Katja Novitskova, Laure Prouvost and Magali Reus at the Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisbon, and at the Paços do Concelho, Câmara Municipal do Porto. Edited by João Laia, this book aims to expand on the universe of the show, posing a wide set of questions that shape contemporary visual culture, rather than serving as a document or an archive. Through the lens of the “hybrid”, the commissioned texts look at different dimensions of our current condition, addressing ideas related to the circulation of identity and meaning in our mediated environments.
2015, English / Portuguese
Softcover (die-cut), 300 pages, 28.5 x 22.5 cm
Published by Serralves Museum of Contemporary Art / Porto
$58.00 - In stock -
Since the second half of the 20th century, we have lived under the shadow of two clouds: the mushroom cloud of the atomic bomb, and the ‘cloud’ of distributed information networks. How did the central metaphor of cold war paranoia become the utopian metaphor of today? ‘Under the Clouds’ explores the contemporary sublime that has replaced the natural one, and the interrelated effects and affects of these two clouds on life and work, leisure and love, and on images, bodies, and minds.
The post-war technologies of the emergent third industrial revolution have now evolved to fit in the palm of our hand; we no longer merely look at images, we now touch, scroll, pinch, and drag them. Where is the border between the self and its data shadow, between information, matter, and affect? The biological, economic, aesthetic, and political effects of living under the clouds has taken the form of new relations between data and material, as well as increasing debt and abstract financialization; the changing nature of work and sex; and new relationships between screens, images, and things. As earlier forms of technologically inflected art sought to mitigate the effects of change — both on perception and society — many of today’s artistic practices confront the myriad interfaces and decentralized networks that continue to shape and transform daily life, forming new evolving connections between bits and atoms.
Enrico Baj & Sergio Dangelo, Thomas Hirschhorn, Sean Landers, Metahaven, Seth Price, João Ribas, Frances Stark, Hito Steyerl, Stan VanDerBeek
Adel Abdessemed, Horst Ademeit, Cory Arcangel, Arte Nucleare, Darren Bader, Enrico Baj, Robert Barry, Eduardo Batarda, Thomas Bayrle, Neïl Beloufa, René Bertholo, Joseph Beuys, K.P. Brehmer, Bruce Conner, Kate Cooper, Gregory Corso, Guy Debord, Harun Farocki, Hans-Peter Feldmann, Carla Filipe, General Idea, Melanie Gilligan, Jean-Luc Godard & Anne-Marie Miéville, Peter Halley, Rachel Harrison, Mona Hatoum, Pedro Henriques, Thomas Hirschhorn, Yves Klein, Sean Landers, Elad Lassry, Mark Lombardi, Julie Mehretu, Katja Novitskova, Ken Okiishi, Trevor Paglen, Nam June Paik, Silvestre Pestana, Pratchaya Phinthong, Seth Price, Martha Rosler, Thomas Ruff, Jacolby Satterwhite, Ângelo de Sousa, Frances Stark, Haim Steinbach, Hito Steyerl, Jean Tinguely, Adelhyd van Bender, Stan VanDerBeek, Andy Warhol, Christopher Williams, Christopher Wool, Anicka Yi
2014, English / French
Softcover, 232 pages (b&w ill.), 240 x 175 mm
Published by May Revue / Paris
$25.00 - In stock -
MAY #12 features:
The Spoiled Children of Art
— Georges Rey
— Florence Bonnefous
— Éric Troncy
“Project Unité” in Firminy.
Interview with Yves Aupetitallot
Editorial (catalog of “L’Hiver de l’amour”)
— Elein Fleiss, Dominique Gonzalez-Foerster, Bernard Joisten, Jean-Luc Vilmouth, Olivier Zahm
Traffic: Space-times of the Exchange
— Nicolas Bourriaud
The Stranger and the Margin. Interview with Roy Genty
On Loretta Fahrenholz, “Ditch Plains” at Reena Spaulings Fine Art, New York
— Annie Godfrey Larmon
On “Interwoven Globe: The Worldwide Textile Trade 1500-1800” at Metropolitan Museum of Art, New York, and “Decorum: Carpets and Tapestries by Artists” at Musée d’Art moderne de la Ville de Paris/ARC, Paris
— Nick Mauss
Trois petits chats. On “Pierre Huyghe” at Centre Pompidou, Paris
— Neil Beloufa
Mobile Brand Development. On Carissa Rodriguez, “La Collectionneuse” at Front Desk Apparatus, New York
— Jacob King
To the Planetarium. On “The Whole Earth. California and the Disappearance of the Outside”, at Haus der Kulturen der Welt, Berlin
— Vincent Normand
Painting Inside Yourself. On Antek Walczak, “New Transbohemian States” at Real Fine Arts, New York
— Damon Sfetsios, Elise Duryee-Browner
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2013, English / German
Softcover, 240 pages
Published by Walther König / Köln
$44.00 - Sold
Utopie beginnt im Kleinen / Utopia starts small
Catalogue publication to accompany the 12th Fellbach Triennial of Small Scale Sculpture 2013, featuring the work of Armando Andrade Tudela, Leonor Antunes, Ei Arakawa & Nikolas Gambaroff, Anna Artaker, Vojin Bakic´, Neïl Beloufa, Bless, Arno Brandlhuber, Teresa Burga, Luis Camnitzer, Nina Canell, Lygia Clark, Nathan Coley, Thea Djordjadze, Maria Eichhorn, Michaela Eichwald, Felix Ensslin & Studierende, Geoffrey Farmer, Yona Friedman, Meschac Gaba, Carlos Garaicoa, Isa Genzken, Konstantin Grcic, Günter Haese, Diango Hernández, Judith Hopf, Iman Issa, Christian Jankowski & Studierende, Rachel Khedoori, Bodys Isek Kingelez, Jakob Kolding, Moshekwa Langa, Manuela Leinhoß, Anita Leisz, Anna Maria Maiolino, Victor Man, Cildo Meireles, Michaela Melián, Michele Di Menna, Charlotte Moth, Timo Nasseri, Manfred Pernice, Pratchaya Phinthong, Falke Pisano, Erwin Piscator, Rita Ponce de León, Vjenceslav Richter, Yorgos Sapountzis, Jochen Schmith, Nora Schultz, Eckhard Schulze-Fielitz, Yutaka Sone, Ettore Sottsass, Pascale, Marthine Tayou, Joëlle Tuerlinckx, Danh Võ and Haegue Yang.
With contributions by Yilmaz Dziewior, Angelika Nollert, Dieter Roelstraete, Thomas Schölderle, Kerstin Stakemeier, et al.
Edited by Kulturamt der Stadt Fellbach, Angelika Nollert, Yilmaz Dziewior
240 pages with numerous colour illustrations
Beyond the bounds of the visual arts, this accompanying publication also examines approaches from architecture, theatre and design by means of examples. Alongside historical positions, the focus is placed in particular on contemporary, young artists, whose works has frequently been created in situations of radical change in Eastern Europe, Latin America and Asia. As well as texts on the exhibiting artists, the accompanying catalogue includes four academic essays that deal with the sociopolitical meaning of utopia through its historical development, the thematization and development of utopian models in art as well as the aesthetics of the small.