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.
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - Out of stock
The theme of this issue - The New New Left - is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. But as the discourses and strategies long associated with the Left (workerism, identity politics, or the mode of the avant-gardist troll) have been adopted by anti-progressive outlets, it has become increasingly complex to locate a Left stance from which to effectively speak and act. This issue explores the affective mechanisms and media strategies – from the rise of viral content (memes) to the harvesting and right-wing politicization of emotions – that are producing our post-millennial, post-financial crisis, post-Brexit/Trump present.
Issue No. 106 / June 2017 "The New New Left“
Table Of Contents
Cultural Resources / Sabine Hark And Sighard Neckel In Conversation On Feelings Of Resentment And Revenge
Fake Left, Punch Right
Unveiling And/Or Re-Masking / Notes On The Political Dialectics Of The Opacity Of The Sign
Wrong Seeing, Odd Thinking, Strange Action
Notes Toward The Memes Of Production
The Tough Stuff / “Populism," "Political Correctness," And The Like
Face The Market On Your Own
Liberté, Egalité, Beyoncé?
Europe, 2016-17 / Selected Status Updates Of Recent Months
Become What You Fear
Ana Teixeira Pinto
Artwashing / Nrx And The Alt-Right
Obsessive, Compulsive, Disorder / Johanna Burton On Douglas Crimp’s “Before Pictures”
Probing Attitudes / Philipp Ekardt On “Putting Rehearsals To The Test” (Buchmann, Lafer, Ruhm, Eds.)
In Experimenten Seine Vernunft Aufs Spiel Setzen / Stefan Römer Über Hans-Jörg Rheinberger, „Der Kupferstecher Und Der Philosoph. Albert Flocon Trifft Gaston Bachelard“
Nachrichten Aus Der Ideologischen Antike / Georg Imdahl Über Wade Guyton Im Museum Brandhorst
Schwere Verspannungen Lösen / Eva Scharrer Über Nairy Baghramian Im S.M.A.K. In Gent
Deviant Art / Dena Yago On Danny Mcdonald At House Of Gaga, Los Angeles
Put Your Money Where Your Mouth Is / Tina Schulz Über Nora Schultz Bei Isabella Bortolozzi, Berlin
Reverse Cubism Als Betrachtungsirrtum / Gunter Reski Über Pieter Schoolwerth Bei Capitain Petzel, Berlin
Mad World / Steven Warwick On Liz Craft & Pentti Monkkonen At Liszt, Berlin
Public Viewing / Moritz Scheper Über Sadie Benning In Der Kunsthalle Basel
Eye In The Sky / Ilya Lipkin On Ned Vena At Societé, Berlin
Kritische Stoffe, Shoppinglust Und Andere Ambivalenzen / Ines Kleesattel Über Ines Doujak (Und John Barker) Im Württembergischen Kunstverein
In Einem Anderem Land / Christian Kravagna Über „The Color Line“ Im Musée Du Quai Branly, Paris
Mehr Epistemischer Ungehorsam! / Susanne Witzgall Über „Postwar: Kunst Zwischen Pazifik Und Atlantik 1945–1965“ Im Haus Der Kunst, München
With Or Without / Christian Philipp Müller On Yuji Agematsu At Miguel Abreu Gallery, Nyc
Kommunikation Ist Kein Objekt / Fiona Geuß Über Ian Wilson In Den Kw Institute For Contemporary Art, Berlin
Gustav Metzger (1926–2017): Ein Nachruf Von Sabine Breitwieser
$25.00 - In stock -
Edited by Keren Cytter, Nora Schultz
Contributions by Ei Arakawa, Ilan Bachl, Keren Cytter, Matthew Dipple, Genoveva Filipovic, Dan Poston and David Zuckerman, Ulla Rossek, Nora Schultz, Sam Siwe
After Jennifer Lopez graced the 2000 Grammys red carpet in that now-iconic plunging Versace number, the Internet was so overloaded with search requests that Google had no choice but to invent a new function: image search. "At the time, it was the most popular search query we had ever seen," Google executive chairman Eric Schmidt wrote. "But we had no surefire way of getting users exactly what they wanted—J.Lo wearing that dress. Google Image Search was born."
—New York Post, April 9, 2015
Terminal is an artist book conceived by Nora Schultz and Keren Cytter. Its title and logic follow Schultz’s latest performance,Terminal + at Tate Modern, London (2014), and the exhibition “I’m Honda” at Reena Spaulings Fine Art, New York (2015). Nora Schultz used Google’s image search on her own documentation to create an unexpected, ever-expanding narrative of digital associations. She then invited nine artists to contribute to this narrative. Together with the image search, Schultz’s own texts and drawings create a new tale that deals with ideas such as authorship, copyright, surveillance, and documentation. It kicks off with Ilan Bachl’s diary, continues with rippled text by Ulla Rossek, and ends with an item from the Daily Mail about a couple who share their home with a Bengal tiger.
Copublished with A.P.E (Art Projects Era)
Design by Keren Cytter
Softcover, 128 pages, 21 x 29 cm
Published by The Renaissance Society / Chicago
$55.00 - In stock -
Published on the occasion of Nora Schultz's exhibition Parrottree-Building for Bigger than Real, January 12 – February 23, 2014. It was Schultz's first solo museum show in the US and the first show curated at the Renaissance Society by new Chief Curator and Executive Director, Solveig Øvstebø.
Nora Schultz: Parrottree is a unique and ambitious hybrid between exhibition catalog and artist’s book. Along with photo documentation of the Renaissance Society installation and an essay by the curator Solveig Øvstebø, the publication also includes The Parrot Magazine by Nora Schultz, a 64-page magazine "made by parrots for parrots and for all birds that need to integrate into human society under aggravated circumstances." Additionally, experimental writing pieces by Keren Cytter and Seth Price, and a visual art project by John Kelsey were all commissioned specifically for this book.
$22.00 - In stock -
Noon on the Moon
Poetic Series #4
Edited by Fiona Bryson, Keren Cytter
Contributions by Luna Miguel, Dafna Maimon, Pablo Larios, Bernadette Van-Huy, Mark von Schlegell, Gerry Bibby, Natalie Häusler, Josef Strau, Judith Goldman, Andrew Kerton, Robert Dewhurst, Dena Yago, Kenneth Goldsmith, Karl Holmqvist, Alejandro Cesarco, Sophie Collins, Sarah Wang, Barry Schwabsky, Dorothea Lasky, Andreas Schlaegel, Veronica Gonzalez Peña, Óscar Garcia Sierra, Matthew Dickman, Keith J Varadi, Jacob Wren, Madeline Gins, Charles Bernstein and Nora Schultz.
The fourth issue in the “Poetic Series” is a seasonally themed special issue, a festive anthology composed of contributions from more than twenty writers and artists. Each interpreting the theme in an unconventional and abstract sense, it is an alternative omnibus of everyone's favorite and most controversial holiday.Noon on the Moon's title comes from a poem by Barry Schwabsky, featured alongside poetry by Charles Bernstein, Judith Goldman and Dorothea Lasky, prose by Veronica Gonzalez Peña, Andreas Schlaegel and Sarah Wang, amongst others. Artwork is provided in the form of a colorful collection of romance covers illustrated by Vicki Khuzami.
The “Poetic Series” brings together works of poetry and literature in combination with visual art, introducing young as well as established writers concerned with challenging the boundaries of traditional forms of narrative. Initiated by Keren Cytter and coedited with Fiona Bryson.
Copublished with A.P.E (Art Projects Era)
Design by Keren Cytter
2011, English / Italian
Softcover, 112 pages (colour ill. throughout), 19 x 27 cm
Edition of 1000,
Published by Nero / Italy
$38.00 - In stock -
The catalogue is published in conjunction with the exhibition by Nora Schultz avere luogo, October 12 - December 31, 2010 at Fondazione Giuliani per l’arte contemporanea.
The final section of the catalogue is a special project carried out by the artist in collaboration with NERO. The 32 pages are part of a selection of over 2,000 70 x 100 cm test sheets originating from the Marchesi printing houses, used for the print machines’ start-up. The layouts of the books to be produced are printed on these sheets, one on top of another. This gives rise to a series of palimpsests, characterized by a stratification of levels which, randomly overlapped, create abstract images of an almost sculptural physicality. Given that this special project is composed of recycled material, each one of these catalogues, in a limited edition of 1,000 copies, is unique and original.
The catalogue includes includes a special project by Nora Schultz too.
Includes texts by Barbara Buchmaier, Adrienne Drake, Nora Schultz, Josef Strau
2013, English / German
Softcover, 240 pages
Published by Walther König / Köln
$44.00 - Out of stock
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.
$35.00 - Out of stock
Edited by Nikolaus Hirsch, Sophie von Olfers
Contributions by Thomas Bayrle, Christian Egger, Nikolaus Hirsch, Sophie von Olfers
Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins, Alexander Wolff, Sergej Jensen...
Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007. Humphreys developed an exhibition that made no pretense to offer an illustrative or historically accurate representation of his activities at the time, instead turning the space into a distorted double set in the present. Humphreys is interested in questioning the activities of that time; some of the artists he invited for this exhibition, for instance, never showed at Flaca. As Christian Egger writes in the catalogue: “Exhibiting there often meant that you could look with a fresh eye at the first solo shows in London of artists you’d only just seen at Flaca, and that was all really quite exciting, as though you were experiencing a little bit of what the mobile phone you’d brought along had gone through when you first scared it by charging it with island juice, there was somehow a different energy—a flirtation with malfunction.” The catalogue compliments the energetic, engaged style embodied by both Flaca and the reflective exhibition.
Co-published with Portikus
Design by Manuel Raeder
2009, English / Italian
Softcover, 80 pages (colour/bw ill.), offset, 13 x 20.5 cm
Published by Mousse / Milan
$25.00 - Out of stock
Catalogue published on the occasion of the collective show Berlin - Los Angeles at Galleria Massimo De Carlo, Milan.
Features Simon Fujiwara, Klara Liden, Dan Rees, Nora Schulz, Josef Strau, Frank Benson, Aaron Curry, Elad Lassry, Kaari Upson, Scott Olson, Kirstine Roepstorff, Klaus Weber, and Maximilian Zentz Zlomovitz.