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.
1969, English / French
Softcover, 76 pages, 24.5 x 34.5 cm
Out of print title / used / good
Published by James Fitzsimmons / Lugano
$55.00 - In stock -
Art International, Vol. XIII/6 Summer 1969
Published and Edited by James Fitzsimmons
Advisory Editors: Umbro Apollonio, Jean-Christophe Ammann, R. C. Kenedy, James Mellow.
Features: Bridget Riley, Barnett Newman, Tess Jaray, Oskar Kokoschka, Roland Topor, Tony Smith, Richard Linder, Jules Olitski, Karel Appel, Hans Bellmer, Horst-Egon Kalinowski, Louise Nevelson, Luciano Fabbro, George Brecht, Man Ray, Fernand Leger, Kenneth Noland, Lyonel Feininger, Herbert Ferber, George Sugarman, Walter de Maria, Edgar Negret, Richard Anuzkiewicz, Nicholas Krushenick, John Healey, Rodolfo Arico, Marco Cordioli, Edival Ramosa, Riccardo Emma, Livio Marzot, Pablo Picasso, Heinz Mack, and many more.
Art International was a highly regarded international art journal based in Switzerland from 1957-1984. With international editors and contributing writers, A.I. was issued 10 times per year and was published and edited by James A. Fitzsimmons.
Softcover, 58 pages, 21 x 30 cm
1st edition, Out of print title / used*,
Published by Art Gallery Kan / Tokyo
$45.00 - Out of stock
Roland Topor catalogue published in Japan in 1996. Includes examples of Topor's surreal, black humour through many colour and black and white illustrations and etchings, alongside texts, biography and a long interview with Topor, all in Japanese.
Roland Topor was one of the most unique and versatile French artists of the second half of the 20th century, working prolifically as a provocative and spirited illustrator, author, humorist, satirist, play-write, actor, poet, painter, performer, sculptor, and much more. Son of a Parisian painter and sculptor of Polish-Jewish descent, in 1941, Topor's father was arrested and sent to camp Pithiviers. Two years later, the family moved to Savoy, where they baptised their son to hide his real identity. After the war, he studied art at the Institute of Beautiful Arts in Paris. He discovered surrealism, Hieronymus Bosch and the scatological plays of Alfred Jarry, which would influence his work and his attitude to life in general.
In 1958, he published his first work in magazines such as Bizarre and later Elle. Three years later, he joined the anarchic group of artists who created the controversial magazine Hara-Kiri, publishing his surreal juxtapositions of people, animals, plants and objects. Topor seldom used words in his illustrations, leaving all power to the visual. In February 1962, Topor, Alejandro Jodorowsky, Olivier O. Olivier, Jacques Sternberg, Christian Zeimert, Abel Ogier and Fernando Arrabal founded the "Mouvement Panique" ("Panic Movement"). This collective focused on creating absurd and bewildering performances to reject the commercialization of surrealism. The founders created many provocative and surreal works in the next decade before Jodorowsky dissolved the movement in 1973. However, Topor continued making scandalous plays afterwards, including 'Le Bébé de Monsieur Laurent' (1975) and 'Vinci avait raison' (1976).
In print, Topor's history is legendary. In 1964 Topor published his debut novel 'Le Locataire Chimérique' ('The Tenant', 1964), a psychological horror story about a man moving in an apartment where he is gradually pestered into madness by the other inhabitants. The work was adapted to film in 1976 by Roman Polanski and both the book as well as the picture are cult classics to this day. His 1980s pamphlet '100 Bonnes Raisons Pour Me Suicider' ('100 Good Reasons To Commit Suicide') is another example of his taste for black comedy. The most unique and unusual book in Topor's oeuvre must be 'Souvenir' (1972), a kind-of Fluxus obscurity featuring a text with all the sentences scratched out to the point of being unreadable. When the artist was interviewed on Dutch television by Adriaan van Dis to read some extracts from it Topor accepted the request by holding his hand in front of his mouth and mumble through it. In 1966 Topor illustrated 'Topographie Anécdotée du Hasard' (Anecdoted Topography of Chance) by Swiss assemblage artist Daniel Spoerri. Following a rambling conversation with his friend Robert Filliou in 1961, Daniel Spoerri one day mapped the objects lying at random on the table in his room, adding a rigorously scientific description of each. These objects subsequently evoked associations, memories and anecdotes from both the original author and his friends Filliou, Emmett Williams, Dieter Roth and Roland Topor. Considered a "quasi-autobiographical tour de force", incredible book was published in 1966 by the Something Else Press in New York City. Topor added sketches of each object. Acknowledged as one of the most important and entertaining artists’ books of the postwar period, An Anecdoted Topography of Chance is a unique collaborative work by four artists associated with the Fluxus and Nouveau Réalisme movements.
Topor also had an interest in film. He designed the posters of movies such as 'L'Ibis Rouge' (1975), 'Ai no borei' ('The Empire of Passion', 1978) and 'Die Blechtrommel' ('The Tin Drum', 1979). His drawings can also be seen during the opening titles of Fernando Arrabal's experimental film 'Viva La Muerte' (1971) and during the magic lantern sequence in Federico Fellini's 'Il Casanova di Fellini' (1976). He also worked as an actor, appearing in Dusan Makavejev's 'Sweet Movie' (1974) and as Dracula's assistant Renfield in Werner Herzog's horror remake of 'Nosferatu' (1979). The latter film has also immortalized his notorious hysterical and chilling laugh.
Together with René Laloux, he created the animated shorts 'Les Temps Morts' (1964) and 'Les Escargots' ('The Snails', 1965) and the full length animated feature 'La Planète Sauvage' ('Fantastic Planet', 1973). The latter work was based on Stefan Wul's science fiction novel 'Oms en Série' and takes place on a surreal planet where gigantic blue aliens treat humans as pets. 'La Planète Sauvage' won the special jury prize at the Festival of Cannes and has achieved cult status over the years.
Topor was a frequent guest in the philosophical radio show 'Des Papous dans la tête' (1984) at France Culture. Together with his good friend and playwright Jean-Michel Ribes, he wrote scripts for the satirical TV sketch series 'Merci Bernard' (1982-1984) on France 3 and 'Palace' (1988-1989) on Canal +. They wrote the theatrical play 'Batailles' (1983) about people of different social classes stranded on a raft, which was a satirical allegory of capitalism. Another collaborative project was the comedy film 'La Galette du Roi' (1985). In 1975 he recorded an album with his Belgian friend Freddy De Vree called 'Panic (The Golden Years)'. It features Topor being interviewed by De Vree on the Flemish public radio channel BRT 3. Apart from talking he also recites some nonsensical songs, including the Dutch nursery rhyme 'Iene miene mutte' and the tongue twister 'De kat krabt de krullen van de trap.' Topor also wrote two songs, 'Je m'aime' and 'Monte dans mon ambulance', which were set to music by François d'Aime and recorded by Japanese singer Megumi Satsu in 1980.
In the 1980s, Topor published in Le Petit Psikopat Illustré, an alternative review, and also teamed up with Belgian film director Henri Xhonneux to create the cult children's series 'Téléchat', a news show featuring anthropomorphic animals and objects and marionets presenting news. The program received various awards, including the 1984 award for best French broadcast for children and adolescents at the Festival of Cannes. It was also nominated for an Emmy in 1985.
Topor and Xhonneux joined forces again in 1989 to create the film 'Marquis', which was loosely based on the life and work of the notorious Marquis de Sade. The actors performed in animal masks and De Sade's penis was made into a separate puppet with a human face and the ability to talk. Due to the unusualness of its execution it became a cult favorite.
2005, English / German
Softcover, 270 pages, 19 x 27 cm
1st edition, As New,
Published by Neues Museum Weserburg Bremen / Bremen
$160.00 - Out of stock
This large, detailed catalogue forms a unique and important document, which was produced to accompany an exhibition at Neues Museum Weserburg Bremen, Bremen, 21.8. - 27.11.2005 and Museu d'Art Contemporani de Barcelona, Barcelona, 16.5. - 1.10.2006 showcasing a selection of some 800 pieces from the collection of Guy Schraenen. The main of this collection comprises vinyl records and covers by artists, musicians and poets in LP, single and other formats, alongside other sound media (tapes and CDs). Posters and books are also included. The exhibition shows artists (such as Hanne Darboven, Jean Dubuffet, Dieter Roth, Joseph Beuys, Laurie Anderson, John Cage, Yoko Ono, Yves Klein, Roman Opalka, Lawrence Weiner, Mike Kelley, Öyvind Fahlström, Art & Language and Hermann Nitsch) and artistic movements of the second half of the twentieth century through this complex medium of the vinyl cover, with its dual visual and audible components. Here Guy Schraenen has edited together an extensive visual catalogue of these historical objects.
A wonderful book for anyone interested in the history of modern sound art and the artistic medium of the vinyl sleeve, especially in the fields of Avantgarde, Electro-Acoustic, Modern Classical, Musique Concrète, Sound-Poetry, Art Rock, Industrial, Power-Electronics....
Henri Chopin, A.R. Penck, Brion Gysin, George Brecht, Marcel Duchamp, Arman, Karel Appel, Öyvind Fahlström, Pierre Henry, Art & Language, Peter Brötzmann, Red Krayola, Ernst Jandl, Vito Acconci, Hanne Darboven, Jean Dubuffet, Dieter Roth, Joseph Beuys, Laurie Anderson, Yves Klein, Roman Opalka, Hermann Nitsch, Yoko Ono, Tony Conrad, Andy Warhol, John Cage, Pierre Schaeffer, Derek Bailey, Han Bennink, Jean Tinguely, Steve Reich, Meredith Monk, Terry Fox, Terry Riley, Sun Ra, Pandit Pran Nath, Albrecht/d., Robert Ashley, Bob Cobbing, Lawrence Weiner, Philip Glass, La Monte Young, Marian Zazeela, Poly Bury, Charlemagne Palestine, Carl Andre, Brian Eno, Mike Kelley, Sonic Youth, Henry Flynt, Jon Gibson, Michael Snow, Roland Topor, Michael Nyman, Harold Budd, Robert Filliou, Nam June Paik ... just the tip of the iceberg.
This is the now very rare first printing from Bremen and is in brand new condition.