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 - In stock -
"Identity politics" has always been beleaguered territory. Yet recently the debate around “identity" has intensified and (with Trump) even developed new fronts. This issue examines the present state of identity politics in the West, finding the commodification of identity in mass culture (as in the art market) to be a leading influence. We also recognize a divide between, on the one hand, non-dominant communities cohering around identity so as to become visible together; and on the other hand, individuals aiming to stand out as special or "unique" by dint of membership in various non-dominant groups. Such ambiguity, in the face of current leadership (see issue cover) lends only all the more urgency, we feel, for a serious engagement with “identity” vis-a-vis “politics” now.
ISSUE NO. 107 / SEPTEMBER 2017 "IDENTITY POLITICS NOW"
Table Of Contents
True And False Victims / Sarah Schulman In Conversation With Caroline Busta and Anke Dyes (Texte Zur Kunst)
Gabi Ngcobo & Yvette Mutumba, Klaus Biesenbach, Egija Inzule On "People Politics"
Monique Roelofs / Identity And Its Public Platforms: A String Of Promises Entwined With Threats
Andreas Reckwitz / Performative Authenticity: The Subject In The Late Modern Society Of Singularities
What Would Winning Look Like? / Bini Adamczak In Conversation With Anke Dyes (Texte Zur Kunst)
Coco Fusco / Decades Of Identity Politics
Das Falsche Buch Zur Richtigen Zeit / Floris Biskamp Über „Beißreflexe“ Von Patsy L’amour Lalove
Apocalypse, A Lover’s Discourse / Jeff Nagy On “Life” By Hannah Black and Juliana Huxtable
Das Unbewusste Ist Strukturiert Wie Eine Ware / Helmut Draxler Und Kerstin Stakemeier Über „The Capitalist Unconscious“ Von Samo Tomšic
Zwischen Warten Und Wandern / Christiane Voss Über „Siegfried Kracauer. Eine Biografie“ Von Jörg Später
Liebe Arbeit Kino
Ghost In Chanel / Tobias Madison On Olivier Assayas’s Film “Personal Shopper”
Lippenbekenntnisse / Fiona Mcgovern Über Kerstin Honeit Im Videoraum Der Berlinischen Galerie
Documenta 14 - Skulptur Projekte Münster - 57Th Biennale Di Venezia
Aus Fehlern Lernen / Sabeth Buchmann Und Ilse Lafer Über Die Documenta 14 In Athen
Incorrect History / Tom Mcdonough On Naeem Mohaiemen’s “Two Meetings And A Funeral” At Documenta 14, Kassel
Public Sculpture Pokéstop / Amy Lien And Enzo Camacho On Skulptur Projekte Münster 2017
Aufhören, Wenn’s Am Schönsten Ist / Eva Ehninger Über Die Skulptur Projekte Münster
The Stuck Hourglass / Venus Lau On The 57Th Venice Biennale
Crowd Kontrolle / Judith Rodenbeck On Anne Imhof’s “Faust” For The German Pavilion, 57Th Venice Biennale
Negative Chic / Ken Okiishi On Rei Kawakubo/Comme Des Garçons At The Metropolitan Museum Of Art, New York
Zünftig In Die Zukunft / Beate Söntgen Über „Otto Freundlich: Kosmischer Kommunismus“ Im Museum Ludwig, Köln
The Man In The Mirror / Sarah Morris On Merlin Carpenter At Galerie Neu, Berlin
Verdeckte Arbeit / Gertrud Koch Über Sarah Morris Bei Capitain Petzel, Berlin
Marilyn And The Museum With Walls / Kevin Lotery On Rachel Harrison At Greene Naftali, New York
Unterwerfung Durch Architektur / Anna Voswinkel Über Peggy Buth Im Museum Folkwang Essen
Democracy Of Sound / Zoë Alexandra Harris On “Free Music Production/Fmp: The Living Music” At Haus Der Kunst, Munich
Tausend Snapchat-Rimbauds / Hans-Christian Dany Über Seth Price Im Stedelijk Museum, Amsterdam
Trocadero Drift / John Kelsey on Michel Houellebecq At Venus Over Manhattan, New York
Resident Aliens / Ella Plevin On Monira Al Qadiri At Gasworks, London
Blickwechsel-Begehren / Ines Kleesattel Über Birgit Megerle Im Kunsthaus Glarus
Containers Of The Virtual / Lars Bang Larsen On Hans-Christian Lotz At Christian Andersen, Copenhagen
Geschwätzige Zeiten / Tobias Teutenberg Über „After The Fact. Propaganda Im 21. Jahrhundert“ In Der Städtischen Galerie Im Lenbachhausund Kunstbau München
The Interdependence Of Feelings And Debates / Yuki Higashino On Martin Beck At Mumok, Vienna
Werner Hamacher (1948–2017)
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
ISSUE NO. 100
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
MORE MANNERISM / Ruth May and Jan Molzberger
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
POST-INTERNET: THE NEW ORDER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
PAMELA M. LEE
TOWARD A CANONIC FREEDOM
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
GREAT & SMALL
CANON OF EXISTENCE, ETHICS OF THE BREAK
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015) by Tim Griffin
PETER FISCHLI/DAVID WEISS
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, 172 pages, ills colour & bw, 23 x 28 cm
Published by PIN-UP MAGAZINE
$25.00 - Out of stock
PIN–UP is a magazine that captures an architectural spirit, rather than focusing on technical details of design, by featuring interviews with architects, designers, and artists, and presenting work as an informal work in progress – a fun assembly of ideas, stories and conversations, all paired with cutting-edge photography and artwork. Both raw and glossy, the magazine is a nimble mix of genres and themes, finding inspiration in the high and the low by casting a refreshingly playful eye on rare architectural gems, amazing interiors, smart design, and that fascinating area where those areas connect with contemporary art. In short, PIN–UP is pure architectural entertainment!
Issue 14 features:
Paulo Mendes Da Rocha, ROLU, Delfina Delettrez, Hans Kollhoff, PLUS a 60-page BRAZIL SPECIAL including a portfolio by Wolfgang Tillmans on the city São Paulo; a cinematic portrait of Rio by the artist Sarah Morris; a Hans Ulrich Obrist-led tour of Lina Bo Bardi’s luminous domestic masterpiece and former residence, the Casa de Vidro; and an insightful new take on Brasilia’s genesis and legacy by Richard Williams with photographs by Marcelo Krasilcic. As well as conversations with established and up-and-coming architects, artists and designers from all over Brazil, including an introduction to ten of the most exciting contemporary Brazilian architects.
An ethereal tour of Valerio Olgiati’s unbuilt wonders, a visit to legendary gay artist Tom of Finland’s Los Angeles sanctuary, a look inside Michael Capo’s auction house treasure palace, and a trip to Mozambique to revisit the life and work of the unbelievably prolific Portuguese architect Pancho Guedes. Also in the issue, Kate McCollough trawls Second Life cataloging traditional stair typologies and PIN–UP’s recommendations for the contemporary corporate environment. Plus a 15-page PIN–UP Board showcase including the PIN–UP Book Club, Norman Foster, Jerszy Seymour, Ken Price, Horrace Gifford, OMA for Knoll, FAUX/real, Adeline André, and so much more.
Both softcover, 255 (vol.I) and 180 pages w. 45 colour ill. (vol. II), both 13 x 21 cm
Rare / Out-of-Print,
Published by Sternberg Press / Berlin
$60.00 - Out of stock
Set of both long out-of-print volumes!
Edited by Michael Hirsch, Vanessa Joan Müller, Nicolaus Schafhausen
Texts by Norbert Bolz, Peter Bürger, Alex Demirovic, Diedrich Diederichsen, Alexander García Düttmann, Michael Hirsch, Christoph Menke, Willem van Reijen, Martin Seel
The first volume of Adorno. The Possibility of the Impossible comprises theoretical essays which investigate the relevance of Adorno’s critical theory for the present. The tight connection between individual observations in aesthetics and cultural criticism, on the one hand, and the large speculations of social theory and the history of philosophy, on the other, that is found in Adorno’s own work is taken as a point of departure in many passages. The difference – disparity, even – in the varied attitudes toward the content of Adorno’s theory is evident. Seen from the perspective of the present, this multiple rereading is directed at fragments of a thought that has preserved its radicality even when abstracted from its immediate historical context. Both publications – Adorno. The Impossibility of the Impossible Vol. I and Vol. II – accompany an exhibition at the Frankfurter Kunstverein on the occasion of the 100th birthday of Theodor W. Adorno.
Design by Surface, Berlin/Frankfurt am Main
Edited by Michael Hirsch, Vanessa Joan Müller, Nicolaus Schafhausen
Texts by Isabelle Graw and Georg Schöllhammer
Volume II documents the exhibition which looks at the connection between contemporary art and Adorno’s writings, with the visual arts becoming a central platform for comparison to Adorno’s main subjects. The publication illustrates the works exhibited and discusses the relationship between autonomy and sovereignty. Artists included are Carl Andre, Samuel Beckett, Martin Boyce, André Cadere, Martin Creed, Thomas Demand, Jason Dodge, Maria Eichhorn, Peter Friedl, Isa Genzken, Liam Gillick, Henrik Plenge Jacobsen, Euan McDonald, John Massey, Jonathan Monk, Sarah Morris, Bruce Nauman, Mathias Poledna, Stephen Prina, Florian Pumhösl, Ad Reinhardt, Gerhard Richter, Markus Schinwald, Andreas Slominski, Lawrence Weiner, Christopher Williams, Cerith Wyn Evans.
Design by Surface, Berlin/Frankfurt am Main