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 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.
$50.00 - Out of stock
What does 'contemporary' actually mean? This is among the fundamental questions about the nature and politics of time that philosophers, artists and more recently curators have investigated over the past two decades. If clock time -- a linear measurement that can be unified, followed and owned -- is largely the invention of capitalist modernity and binds us to its strictures, how can we extricate ourselves and discover alternative possibilities of experiencing time? Recent art has explored such diverse registers of temporality as wasting and waiting, regression and repetition, deja vu and seriality, unrealized possibility and idleness, non-consummation and counter-productivity, the belated and the premature, the disjointed and the out-of-sync -- all of which go against sequentialist time and index slips in chronological experience. While such theorists as Giorgio Agamben and Georges Didi-Huberman have proposed "anachronistic" or "heterochronic" readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question.
This collection surveys contemporary art and theory that proposes a wealth of alternatives to outdated linear models of time.
Artists surveyed include Marina Abramovi, Francis Alys, Matthew Buckingham, Janet Cardiff, Paul Chan, Olafur Eliasson, Bea Fremderman, Toril Johannessen, On Kawara, Joachim Koester, Christian Marclay, nova Milne, Trevor Paglen, Katie Patterson, Raqs Media Collective, Dexter Sinister, Simon Starling, Hito Steyerl, Hiroshi Sugimoto, Tehching Hsieh, Time/Bank.
Writers include Giorgio Agamben, Mieke Bal, Geoffrey Batchen, Hans Belting, Walter Benjamin, Franco Berardi, Daniel Birnbaum, Georges Didi-Huberman, D gen Zenji, Peter Galison, Boris Groys, Brian Dillon, Elena Filipovic, Joshua Foer, Elizabeth Grosz, Adrian Heathfield, Rachel Kent, Bruno Latour, George Kubler, Doreen Massey, Alexander Nagel, Jean-Luc Nancy, Daniel Rosenberg, Michel Serres, Michel Siffre, Nancy Spector, Nato Thompson, Christopher Wood, George Woodcock, Mark von Schlegell.
Edited by Amelia Groom.
Softcover, 172 pages, 12.8 x 19.8 cm
Published by Sternberg Press / Berlin
$20.00 - In stock -
Edited by April Lamm
Introduction by Paul Chan, afterword by Etel Adnan, ode by Olafur Eliasson
Following Everything You Always Wanted to Know About Curating But Were Afraid to Ask, this second volume in the series on international curator Hans Ulrich Obrist presents a selection of his key writings from the past two decades, which elaborate on the manifold thinkers, curators, and events that influence his interdisciplinary practice of exhibition making.
The collected essays form the compartments of Obrist’s curatorial toolbox, along with elucidating his views on stewardship, patronage, and art itself. Influences and interlocutors cited and discussed here include, among others, Alexander Dorner, Édouard Glissant, Claude Lévi-Strauss, Jean-François Lyotard, Dominique de Menil, Josef Ortner, Cedric Price, Sir John Soane, and Harald Szeemann.
Design by Zak Group
Softcover, 328 pages, 17 x 24 cm
Published by Sternberg Press / Berlin
$38.00 - In stock -
Edited by Brigitte Oetker and Nicolaus Schafhausen
Interviews with Saâdane Afif, Thomas Bayrle, Michael Beutler, Monica Bonvicini, Mike Bouchet, Ulla von Brandenburg, Angela Bulloch, Andrea Büttner, Keren Cytter, Simon Denny, Thea Djordjadze, Ólafur Elíasson, Harun Farocki, Dani Gal, Katharina Grosse, Eberhard Havekost, Florian Hecker, Christian Jankowski, Susanne Kriemann, Antje Majewski, Olaf Metzel, Carsten Nicolai, Olaf Nicolai, Marcel Odenbach, Silke Otto-Knapp, Willem de Rooij, Cornelia Schleime, Michael Stevenson, Hito Steyerl, Haegue Yang, Tobias Zielony
The 60th Jahresring takes the form of a compilation of artist interviews and offers a snapshot of a highly active art scene that stretches from Berlin, as a new international center for art. Nicolaus Schafhausen put a series of questions to thirty-one art practitioners, less geared toward the artists’ respective praxis and more toward the conditions under which it arises.
Art’s presence in the field of new media has never been more pronounced; access to media images and Internet-based possibilities for research have significantly altered contemporary art production. The art market too has changed, gaining influence in the field of contemporary art as even art institutions take a different approach today than they did twenty years ago.
The focus in these interviews is on the respective self-positioning by the artists in an era shaped by such far-reaching changes. What emerges are temporally fixed positions within an activity that is, for the most large part, associated with precarious working conditions and the logistics of the market more than ever before. This book offers insight into this “other” dimension of an artist’s existence and registers attention economy as a central component of contemporary art production.
Design by Tobias Donat
Softcover, 372 pages, 12.9 x 19.8 cm,
Published by Sternberg Press / Berlin
$36.00 - Out of stock
We have entered a post-post-studio age, and find ourselves with a new studio model: the transdisciplinary. Artists and designers are now defined not by their discipline but by the fluidity with which their practices move between the fields of architecture, art, and design. This volume delves into four pioneering transdisciplinary studios—Jorge Pardo Sculpture, Konstantin Grcic Industrial Design, Studio Olafur Eliasson, and Åbäke—by observing and interviewing the practitioners and their assistants. A further series of interviews with curators, critics, anthropologists, designers, and artists serves to contextualize the transdisciplinary model now at the fore of creative practice.
Including interviews with Jorge Pardo, Konstantin Grcic, Olafur Eliasson, and Åbäke; and Vito Acconci, Gui Bonsiepe, James Clifford, Dexter Sinister, Martino Gamper, Ryan Gander, Caroline Jones, Ronald Jones, Maria Lind, Alessandro Mendini, Rick Poynor, and Andrea Zittel.
The Transdisciplinary Studio is the first volume of a series of books by Alex Coles on the expanded studio model and contemporary praxis.
Design by Surface, Frankfurt am Main/Berlin
Softcover, 320 pages (37 b/w ill.), 14 x 20 cm w. DVD, HD, 157 min.
Published by Sternberg Press / Berlin
$38.00 - Out of stock
With guidance by Thomas Bayrle, Olaf Breuning, Genesis and Lady Jaye Breyer P-Orridge, Olafur Eliasson, Harald Falckenberg, Boris Groys, Damien Hirst, Gregor Jansen, Terence Koh, Gabriel von Loebell, Marcos Lutyens, Philomene Magers, Antje Majewski, Hans Ulrich Obrist, Thomas Olbricht, Friedrich Petzel, and Tobias Rehberger; and commentary by Chus Martínez
In 1831 Honoré de Balzac wrote a short story, “The Unknown Masterpiece,” in which he invented the abstract painting. Almost 200 years later, writer Ingo Niermann tries to follow in his footsteps to imagine a new epoch-making artwork. Together with the artist Erik Niedling he starts searching for the future of art and, seeking advice, meets key figures of the art world.
Including the DVD The Future of Art by Erik Niedling and Ingo Niermann (HD, 157 min.).