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.
$32.00 - In stock -
Texts by Giorgio Agamben, Claire Fontaine, Gilles Deleuze, Julius Gavroche, Paul Lafargue, Vanessa Joan Müller, Cristina Ricupero, Tereza Stejskalová, Enrique Vila-Matas
“New Ways of Doing Nothing,” a group exhibition that took place at Kunsthalle Wien in 2014, devoted itself to artistic production that opposes activity and instead gives an affirmative slant to forms of doing nothing or refraining—a major influence being the titular character of Hermann Melville’s “Bartleby the Scriviner: A Story of Wall Street.” The book presents the displayed works and artists, but also continues the process that led to the exhibition. Included along with a conversation between the curators is a text collage of reprints and excerpts that introduces those artists and thinkers who, in the words of Bartleby, “prefer not to.”
Featuring work by Robert Breer, Alejandro Cesarco, Étienne Chambaud, Claire Fontaine, Natalie Czech, Oskar Dawicki, Edith Dekyndt, Mathias Delplanque, Heinrich Dunst, Gardar Eide Einarsson, Marina Faust, Ryan Gander, Lasse Schmidt Hansen, Julia Hohenwarter, Karl Holmqvist, Sofia Hultén, Jiří Kovanda, Rivane Neuenschwander, Georges Perec / Bernard Queysanne, Superflex, Mario García Torres
Vanessa Joan Müller, Cristina Ricupero, Nicolaus Schafhausen (Eds.)
Copublished with Kunsthalle Wien
Design by Anna Haas
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
Softcover, 438 pages, 14.8 x 21 cm
Published by Sternberg Press / Berlin
$60.00 - In stock -
2015 re-print of this fantastic and hugely popular book from 2009.
Essays by Bart De Baere, Céline Condorelli, Mark Cousins, Wouter Davidts, Jean-Claude Lebensztejn, Andrea Phillips, Jaime Stapleton, Jan Verwoert, Eyal Weizman & Rony Brauman
With works by Michael Asher, Artist Placement Group, Can Altay, Conrad Atkinson, Adam Broomberg & Oliver Chanarin, Lonnie van Brummelen & Siebren de Haan, Banu Cennetoglu, Christopher D’Arcangelo, Martin Beck, Cevdet Erek, Andrea Fraser, Buckminster Fuller, Ryan Gander, Ella Gibbs, Frederick Kiesler, Lucy Kimbell, James Langdon, El Lissitzky, Peter Nadin, The offices of Peter Fend, Coleen Fitzgibbon, Jenny Holzer, Peter Nadin, Richard Prince & Robin Winters,” Gordon Matta-Clark, Antoni Muntadas, Lilly Reich, Support Structure, Rirkrit Tiravanija, Lawrence Weiner, Christopher Williams, Carey Young, a.o.
Support Structures is a manual for what bears, sustains, and props, for those things that encourage, care for, and assist; for that which advocates, articulates; for what stands behind, frames, and maintains: it is a manual for those things that give support. While the work of supporting might traditionally appear as subsequent, unessential, and lacking value in itself, this manual is an attempt to restore attention to one of the neglected, yet crucial modes through which we apprehend and shape the world.
Support Structures is a critical enquiry into what constitutes “support,” and documents the collaborative project “Support Structure” by Céline Condorelli and Gavin Wade. While registering and collecting reference projects in a new archive of support structures alongside its ten-phase project, different writers, thinkers, and practitioners were invited from various fields to elaborate on frameworks and work on texts , which form the theoretical backbone of the publication. The collection of contributions offers different possibilities for engaging in this unchartered territory, from propositions to projects, existing systems to ones invented for specific creative processes.
Support Structures offers support through potential methodologies, inspirations and activations for practice, and addresses important questions for art and architecture practices on forms of display, organization, articulation, appropriation, autonomy, and temporariness, and the manifestations of blindness towards them.
Produced in co-production with Support Structure:
Celine Condorelli and Gavin Wade with James Langdon
Design by James Langdon
Softcover, 230 pages, 20.5 x 27 cm
Published by Cura. / Rome
$20.00 - Sold
cura. is a quarterly magazine, a publishing house, an exhibition space and a platform for editorial and curatorial activities, based in Rome, Italy.
Cover by Allison Katz
INSIDE THE COVER
Allison Katz. Pungent Painting
text by Ruba Katrib
PORTRAITS IN THE EXHIBITION SPACE
Wim Beeren and Tomorrow’s Museum
by Lorenzo Benedetti
by Jean-Max Colard
POP-UP SECTION: DISPLAY
You Display, I Display, We Display
by Céline Condorelli and Gavin Wade
by Ciara Moloney
A Wonderful World Under Construction
in conversation with Adam Carr
Michael E. Smith
by Jenny Jaskey
A VISIT TO
Pedro Barateiro: The Current Situation /
Palmeiras Bravas, Museu Colecão Berardo, Lisbon
with João Mourão & Luís Silva
by Hans Ulrich Obrist
by Chris Sharp
by Franklin Melendez
by Rose Bouthillier
by Frances Loeffler
Villa Design Group and Nicoletta Lambertucci
Lena Henke and Anna Gritz
$30.00 - Sold
Chantal Pontbriand (Ed.) Per/Form
How to Do Things with[out] Words
Contributions by Jean-Pierre Cometti, Amelia Jones, Antonio Negri, Chantal Pontbriand, José Antonio Sanchez; visual essays by Mathieu Abonnenc, Jennifer Allora & Guillermo Calzadilla, Brad Butler & Karen Mirza, Geneviève Cadieux, Adrian Dan, Angela Detanico & Rafael Lain, Carole Douillard, Cevdet Erek, Köken Ergun, Esther Ferrer, Chiara Fumai, Simon Fujiwara, Ryan Gander, Dora García, Camille Henrot, Sandra Johnston, Latifa Laâbisi, La Ribot, Ines Lechleitner, Franck Leibovici, Cristina Lucas, Haroon Mirza, Roman Ondak, Falke Pisano, Chloé Quenum, Pedro Reyes, Julião Sarmento, Ulla von Brandenburg, Carey Young, Héctor Zamora
Performativity explores the in-between space when bodies or objects are left to perform. The fact that we are living more and more in an “immaterial” world, dominated by mediatization (which some call spectacle), the impact of globalization, the increasing tendency to think of politics as biopolitics—these different factors enhance performance over materiality, or object making. Per/Form investigates the process of this enhancement—how to work through form, and how to let form speak for itself.
The meaning of performance and performativity today are examined here through different modes of “display”: a book, an exhibition, and its three “Intensity Days” of performative situations. This book compliments these events and the sixteen installations of the exhibition curated by Chantal Pontbriand, “PER/FORM_How to Do Things with[out] Words” (CA2M Centro de Arte Dos de Mayo in Madrid, March 22–September 21, 2014), with theoretical texts and visual essays by thirty participating artists, including musical scores, drawings, documents, and photographs, which all work together to generate various perspectives on the subject through different theoretical premises (politics, experience, immateriality, action, realization, manifestation) and also through the artists’ many diverging perspectives.
Copublished with CA2M Centro de Arte Dos de Mayo, Madrid
Design by Agnès Dahan Studio Paris
$63.00 - In stock -
Take as long as you might take, you might take long by Ryan Gander
Photographs by Takashi Homma & Ryan Gander
Take as long as you might take, you might take long documents an installation by Ryan Gander, commissioned by and first exhibited at Daiwa Viewing Room, Hiroshima, Japan. A standard ceiling mounted sprinkler system in the otherwise empty gallery space is switched on for the duration of the show, the water being invisibly drained from the space and recycled back into the sprinkler system. During the exhibition Ryan Gander instigates and directs a photoshoot of three Japanese females modelling oversized Thom Browne men’s suits within the space. The images of the photoshoot are printed on the interior of the traditional Japanese binding method, meaning the reader must cut the publication to discover the hidden half of the book.
Designed by Åbäke
Softcover, 224 pages, 15 x 21 cm
1st edition of 3000 copies,
Published by Dent De Leone / London
$28.00 - Sold
Can the fifth edition ever be published before the third?
Can this book be both a prelude and a sequel to an exhibition?
Did you ever notice the word ampers& contains itself? Esperlu&te aussi?
Did you know Roland Barthes’ Empire of Signs is apparently best read if one is born and raised in France but of Japanese descent?
Ryan Gander and I were once in a lift of a hotel in Tokyo when we noticed the absence of a button for the 13th floor. Despite our amusement at the superstitious gesture we later suggested at the front desk that they should have built the 13th floor, but prohibited access to it. An architectural ghost in need of physicality to truly abolish bad omens.
The present publication crystallises, for a fleeting moment (books are not eternal, you know), the ever expanding collection of Ryan Gander and the stories for which objects of all pedigree — artworks alongside coloured toilet paper – are the catalysts of. These short essays are an exploration of our surroundings, both normal and sublime, written with a steady hand and the sharp critical eye of a northern comedian cooler than Pharrell Williams. You think I go too far? I am so sincere I am not even paid to write this foreword.
Hardcover (w. dust jacket), 224 pages, 9 x 14.5 cm
1st Edition of 2000,
Published by Dent De Leone / London
$37.00 - In stock -
Artists’ Cocktails by Ryan Gander - A compendium of artists’ cocktails
with Åbäke, Allora & Calzadilla, Spencer Anthony, Cory Arcangel, Art & Language, Jesse Ash, Mary Aurory, Fiona Banner, David Batchelor, Justin Beal, Jacqueline Bebb, Vanessa Billy, Pierre Bismuth, Martin Boyce, Pavel Büchler, Dinos Chapman, Steve Claydon, Keren Cytter, Jeremy Deller, Joseph del Pesco, Anthony Discenza, Rose Duvall, Sean Edwards, Vivi Enkyo, Aston Ernest, Winnie Ernest, Abbé Faria, Claire Fontaine, Simon Fujiwara, Michael Fullerton, Martino Gamper, Ryan Gander, Mario Garcia Torres, Tom Gidley, Liam Gillick, Matt Golden, Rodney Graham, Irwin Green, Joseph Grigely, Sigurdur Gudmundsson, Drew Heitzler, Anton Henning, Mark Hix, The Hut Project, Pierre Huyghe, Taka Izumi, Christian Jankowski, Alan Kane, Jacob Kassay, Gabriel Kuri, Tim Lee, Gabriel Lester, Benoît Maire, Raimundas Malašauskas, Kris Martin, Christian Matthiessen, Alan Michael, Haroon Mirza, Jonathan Monk, Jody Monteith, Sarah Morris, Olivier Mosset, Shahryar Nashat, John Henry Newton, Carsten Nicolai, Olaf Nicolai, Nishikawa, David Noonan, Roman Ondák, Pratchaya Phinthong, Tobias Rehberger, David Renggli, Amanda Ross-Ho, Eran Schaerf, David Shrigley, Lucy Skaer, Bob and Roberta Smith, Nedko Solakov, Haim Steinbach, Santo Sterne, Jack Strange, Rirkrit Tiravanija, Mark Titchner, Santo Tolone, Simon Turnbull, Uri Tzaig, Francis Upritchard, Yonatan Vinitsky, Carl Michael von Hausswolff, Lawrence Weiner, Terrance E. White, Bedwyr Williams, Jesse Wine, John Wood & Paul Harrison, Cerith Wyn Evans...
“I have something for you, I’ll send it over. You know for four years now I have been trying to propagate shiso and it hasn’t grown. I tried everything: freezing and thawing the seeds, leaving them in the dark for a year, different temperatures and humidity… The seeds Taro sent me in February came up no problem, just in fine soil with a sheet of paper over the pot outside, no special equipment or lights. Crazy. The kitchen garden at home is now being taken over by green shiso plants with huge leaves everywhere. We have a glut, as the English call it. Fearful of it not reseeding and growing next year I’ve been stripping the leaves and producing shiso sugar syrup and shiso-infused vodka. The vodka is unbelievably good! I thought of proposing it to ABSOLUT as a new flavour. We’ll see. Anyway, I have a bottle for you! ”
Extract from: [Extracts from… ] A conversation between Ryan Gander and Masako Hosoi
Edited by Ryan Gander, Phil Mayer with editorial assistance by Holly Featherstone, Barnie Page and Anna Stoppa.
Design by Åbäke with Delphine Bourit.
Softcover, 372 pages, 12.9 x 19.8 cm,
Published by Sternberg Press / Berlin
$36.00 - Sold
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, 104 pages, offset/newsprint, 165 x 235 mm
Published by Dexter Sinister / New York
$27.5.00 - Sold
A W.A.S.T.E. of Ink (after Thomas Pynchon)
DDD16 was conceived parallel to—and is issued from under the wing of—the project 'True Mirror', directed from the Commander’s Room at the 7th Regiment Armory Building, New York between 4–23 March, 2008 and tracked at http://www.sinisterdexter.org. On reflection, we realised real news doesn’t need a press release.
The issue then draws liberally from three other interlocking projects, all founded by guest-co-editor Raimundas Malašauskas.
In this issue:
Softcover, spiral-bound adhesive sticker sheets, 21 x 15 cm
Published by Mousse / Milan
$20.00 - In stock -
A project for INDEPENDENT proposed by Matthew Higgs
For the 2012 edition of INDEPENDENT we approached each of the participating galleries, project spaces, and publishers to each invite one artist they either represent or who they have worked with in the past to design a new logo for them.
Of course galleries, for the most part, don’t have logos, and the few that have tried – the now shuttered Deitch Projects for example – always stood out like a sore thumb.
Instead a gallery’s ‘public face’, its ‘look’ is often little more than a carefully and discretely chosen font, which over time – it is hoped – will become as recognizable as the work of the artists the gallery represents.
Working in collaboration with MOUSSE the new, artist-designed logos for the participants of INDEPENDENT have been printed as stickers, which you are encouraged to distribute and disseminate in any way that feels appropriate.
$50.00 - Sold
While he was working on Appendix Appendix, Ryan Gander described it to Artforum as "a shooting script for a 13-part television series about television" and "a cross between John Berger's…Ways of Seeing and Monty Python." His collaborator and typographer Stuart Bailey, on the other hand, describes it as a sequel to their first book, Appendix, which compiled back stories for Gander's conceptual work. Bailey says, "The problem (a good problem) is to work out how the second [collaboration] is affected by the first, how it swallows it. I always relate these things to music, so it's like thinking what's the second album going to be after the rough debut; more studio time, more pressure, bigger egos, drinking problems, etcetera." Bailey has created books with Paulina Olowska, Lucy McKenzie and Frances Stark; Gander recently won the Baloise Prize at Art Basel and appeared in the 2006 Tate Triennial.
Edited by Christoph Keller.