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, 117 pages, 17 x 23cm
Ed. of 600,
Published by MUMA / Victoria
$20.00 - In stock -
Catalogue published to accompany the exhibition "Future Eaters", curated by Charlotte Day at MUMA (Monash University Museum of Art), 22 July - 23 September, 2017.
The exhibition explored artists' approaches to three-dimensional form and materiality in the age of systems rather than artefacts, software rather than hardware, and associated processes of virtual transmission. The exhibition asked: how is sculpture evolving and responding to our increasingly technologised existence?
Artists: Hany Armanious (AUS); Benjamin Armstrong (AUS); Damiano Bertoli (AUS); Nina Cannell (SWE); Marley Dawson (AUS); Aleksandra Domanović (SVN); Hannah Donnelly (AUS); Alex Dordoy (GBR); Lewis Fidock & Joshua Petherick (AUS); Mira Gojak (AUS); Guan Xiao (CHN), Yngve Holen (NOR); Alex Israel (USA); Magali Reus (NLD); Anna Uddenberg (SWE); Anicka Yi (KOR)
Texts: Charlotte Day, Damiano Bertoli, Tara McDowell, Gail Priest, Hannah Donnelly
$42.00 - In stock -
Texts by Steven Connor, Dieter Roelstraete, and Monika Szewczyk
Testing the intimate intersection of audience, object, and event, Nina Canell’s work has been described by curator Fionn Meade as “tethered to fragmented and often partially withheld narratives [and] comprised of choreographed indirection and relay.” Published in relation to the exhibition “Stray Warmings” at Midway Contemporary Art in Minneapolis, this new monograph brings together writing and reproductions that extend beyond this particular context. The book documents the broader framework that has defined the artist’s practice during the past years, considering how intuition, corners, and a stratification of the transparent have formed Canell’s understanding of sculpture and its dissolution.
The text contributions are comprised of a conversation between Dieter Roelstraete and Monika Szewczyk on the topic of communication, followed by an essay by Steven Connor on the consistency of words, imagination, and thought itself.
Copublished with Midway Contemporary Art
Design by Robin Watkins
2016, English / Korean
Softcover, 116 pages, 15.6 x 22 cm
Published by Bom Dia Boa Tarde Boa Noite / Berlin
$35.00 - Out of stock
Texts by Hu Fang, Jenny Jaskey, Hyo Gyoung Jeon, Fionn Meade, Hyunjin Kim, Sung Hwan Kim, Kari Rittenbach, Anja Isabel Schneider, Monika Szewczyk, Jason Wirth, concept by Nina Canell and Robin Watkins, edited by Hyunjin Kim, Hyo Gyoung Jeon
For Canell there is no mediation that is lossless—an output is never the pure transmission of a source—but always as much the distance it has travelled, the things it has come in contact with or bounced with or off. She is interested in the consistency of distances that can be traced through an arbitrary sense of material precision: utilising water, viscosity, synthetic carpets, electricity, surface tension, stray socks and chewing gum. This consistency, at times imperceptible and at times palpable, is what the artist describes as “an extra-linguistic or non-verbal modulation of content—articulating the impurities of a medium or assemblage.”
For her first solo exhibition in Asia, Canell made research into the production and distribution of fiber optic sheaths in the outskirts of Seoul, where cable mounds are sorted according to colour and eventually remoulded into the synthetic circumferences of future relations. Literally caught in between melting and being repurposed, several hundred meters of gutted sheaths are compressed into dense lumps of immaterial distance. The accompanying book consists of ten short new texts around which fragments of communication with the authors have been punctuated by observational photographs and sculptural documentation. Contextualized by both recent and earlier works, the exhibition and book considers sculpture as a medium of storage, transmission and reception.
$45.00 - In stock -
Anyone undertaking a study of the concept of "life" in our culture will observe that it never gets defined as such, writes Giorgio Agamben. Instead, he claims, this indeterminate thing - life itself - gets articulated and divided time and again through a series of oppositions that give it a function in the sciences without ever being defined as such. These theoretical and literary articulations are what this book is about, and what the 173 texts by authors, scientists and philosophers from all times and all disciplines will try to answer.
Ernst Haeckel, speculative biologist and naturalist, coined key concepts as phylum and ecology. In the years 1899-1904 he published Kunstformen der Natur (Art Forms of Nature), one hundred prints depicting organisms many of which were first described by Haeckel himself, who with this project took an unusual step from science to art. His sketches thus create a bridge between this book and the exhibition at Moderna Museet, appearing in the margins of both. Otherwise there is no art in this publication and the division of labor strict: the exhibition is art?s chance to answer the topic spelled out in the subtitle to Life Itself: "On the question of what it essentially is; its materialities, its characteristics, considering that attempts to answer this question by occidental sciences and philosophies have proven unsatisfactory."
Exhibition featured the work of Giovanni Anselmo, Olga Balema, Hicham Berrada, Joseph Beuys, Karl Blossfeldt, Constantin Brancusi, Victor Brauner, Nina Canell, Lygia Clark, Trisha Donnelly, Monica Englund, Valia Fetisov, Dirk Fleischmann, Katharina Fritsch, Ernst Haeckel, Barbara Hauser, Tamara Henderson, Eva Hesse, Damien Hirst, Tehching Hsieh, Pierre Huyghe, Carsten Höller/Rosemarie Trockel, On Kawara, Josh Kline, Hilma af Klint, Edward Krasinski, Mark Leckey, Helen Marten, Henri Michaux, Barnett Newman, Otobong Nkanga, Katja Novitskova, Philippe Parreno, Giuseppe Penone, Leo Reis, Ulf Rollof, Rachel Rose, Anri Sala, Sebastian Stöhrer, Sturtevant, Paul Thek, Rosemarie Trockel, Rosemarie Trockel/Günter Weseler, Christine Ödlund.
Softcover, 176 pages, 17 x 23 cm
Published by Witte de With / Rotterdam
$38.00 - In stock -
Art In The Age Of… was published on the occasion of the eponymous yearlong cycle presented at Witte de With Center for Contemporary Art, Rotterdam (23 January 2015 – 3 January 2016). This series articulated itself through three exhibitions; Art In The Age Of…Energy And Raw Material, Art In The Age Of…Planetary Computation, and Art In The Age Of…Asymmetrical Warfare, alongside a related discursive program and film screenings.
Art In The Age Of… was staged to investigate future vectors of art production in the 21st century, highlighting the circulation of art and its underlying economies rather than its territorial location, its spread and infectious expanse rather than its arrest within narrowly defined genealogies and media.
With a focus on topical areas of urgency within art’s creation and its dispersal, spanning energy and raw materials, planetary computation, and asymmetric warfare, the Art In The Age Of… publication both records and expands research feeding this year-long program through interviews and essays by key contributors, alongside specially commissioned artist interventions.
Edited by Defne Ayas (director, Witte de With), Natasha Hoare (associate curator, Witte de With), and Adam Kleinman (chief editor, WdW Review), the book features interviews with artists involved in the various exhibitions of Art In The Age Of…, including Rossella Biscotti, James Bridle, Céline Condorelli, John Gerrard, Femke Herrengraven, David Jablonowski, Navine G. Kahn-Dossos, John Menick, Trevor Paglen, Susan Schuppli, Tom Tlalim; commissioned essays by theorists, curators and cultural historians involved in its discursive program, including contributions by Alexandra Bradford, Natasha Ginwala, Mike Jay, and Mohammad Salemy; interventions by artists Nina Canell and David Jablonowski; as well as visual documentation of the three exhibitions.
2015, English / French
Softcover (w. dustjacket), 204 pages, 22 x 29 cm
Published by Roma / Amsterdam
$64.00 - In stock -
Over the course of a year, The Registry of Promise consisted of four interrelated exhibitions, which are represented as chapters in this book. In these chapters, Chris Sharp reflects on our increasingly fraught relationship with what the future may or may not hold, and the work engages with and plays upon the various readings and mutability of promise, along with the inevitability of what may come, whether positive or negative. Such polyvalence is particularly topical, as we have shifted from the anthropocentric promise of modernity to a negative faith in the post-human. Richly illustrated with works and installation views, and an archive of previously published articles by Chris Sharp.
With: Becky Beasley, Patrick Bernatchez, Juliette Blightman, Peter Buggenhout, Nina Canell, Michael Dean, Alexander Gutke, Jochen Lempert, Jean-Luc Moulène, Marlie Mul, Matt Mullican, Rosalind Nashashibi, Antoine Nessi, Jean-Marie Perdrix, Reto Pulfer, Mandla Reuter, Hans Schabus, Lucy Skaer, Michael E. Smith, Carlo Gabriele Tribbioli, Francisco Tropa, Andy Warhol and Anicka Yi.
Texts in English and French.
Design: Roger Willems