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.
2016, English / German
Softcover, 240 pages, 23 x 16.5 cm
$30.00 - In stock -
Art and fashion have always been interrelated. And it’s due to fashion’s ability to quickly capture social shifts that the art world has repeatedly turned to it. But as Texte zur Kunst No. 102 proposes, it is fashion’s protagonists, recently, that have been markedly drawing on art conceptual practices (e.g., parasitism, collective authorship, détournement, and forms of institutional critique) as they push back against the pressures of a hyper-accelerated fashion market. In this issue, TzK examines, also, how the industry’s current volume is a product of its late-'00s promise of online democratization; the changing function of such long-held value designations as “luxury,” “discount,” and “underground,” and the role of “real”-er bodies in a climate wherein models are preferably “nodels” or “othered” bodies, hyper-individualised to stand out in the stream.
TABLE OF CONTENTS
ROBERT KULISEK & DAVID LIESKE
FASHION PROFILES OF:
69 WORLDWIDE / NASIR MAZHAR / KYLE LUU / BERNADETTE VAN-HUY / LIAM HODGES / TELFAR / NIK KOSMAS & JEANNE-SALOMÉ ROCHAT / MARTINE ROSE / JULIANA HUXTABLE / ECKHAUS LATTA / DIS / NHU DUONG /
with texts by Harry Burke, Tess Edmonson, Jack Gross, and Bianca Heuser
INGEBORG HARMS "CRYSTAL MESH / Existential imagery in current fashion"
COLLECTIVE SOUL / Jessica Gysel in conversation with Lotta Volkova Adam and Atelier E.B. (Beca Lipscombe & Lucy McKenzie)
CAROLINE BUSTA "NEO-BODIES"
NATASHA STAGG "ACCESS CODING"
PHILIPP EKARDT "DRESSING AFTER THE GREAT DIVIDE / The emancipation of Jonathan Anderson"
CALLA HENKEL & MAX PITEGOFF "LAST NIGHT"
IN DER FRÜHE / Peter Geimer über Friedrich Kittlers „Baggersee“
RETURNS OF THE STONE AGE / Sven Lütticken on the exhibition publications for “Kunst der Vorzeit” and “Allegory of the Cave Painting”
ZUR KULTURPOLITISCHEN BEKÄMPFUNG DER MODERNEN KUNST / Otto Karl Werckmeister über die neue Ausgabe von Hitlers „Mein Kampf“
LIEBE ARBEIT KINO
DURATIONAL FASHION / Sara Marcus on K8 Hardy’s “Outfitumentary”
HAVE YOU EVER BEEN TO ELECTRIC LADYLAND / Barbara Vinken über Michaela Melián im Lenbachhaus, München
EINE KULTURGESCHICHTE DER ENTGRENZUNGEN / Daniel Martin Feige über „I Got Rhythm. Kunst und Jazz seit 1920“ im Kunstmuseum Stuttgart
Jens Hoffmann on “Unfinished: Thoughts Left Visible” at the Met Breuer, New York / Magdalena Nieslony über Agnes Martin im K20, Düsseldorf / Dena Yago on Ei Arakawa, Gela Patashuri, and Sergei Tcherepnin at Midway Contemporary, Minneapolis / Eva Wilson on Das Institut at the Serpentine Sackler Gallery, London / Julia Moritz on Tobias Madison at Kestnergesellschaft, Hannover
MARIUS UND DIE INFORMATION / Hans-Christian Dany über „Nervöse Systeme. Quantifiziertes Leben und die soziale Frage“ im Haus der Kulturen der Welt, Berlin
DIE KUNST VERACHTEN, DEN REST DER WELT ANKLAGEN /Susanne von Falkenhausen über Boris Lurie im Jüdischen Museum Berlin
DEUTSCHES VITRINENGLAS / Steffen Zillig über Dierk Schmidt bei KOW, Berlin
NOTHING BUT KINDNESS / Verena Dengler über Lili Reynaud-Dewar in der Galerie Emanuel Layr, Wien
EARLY SYSTEMS ESTHETICS / Craig Buckley on Les Levine at Buell Hall, GSAPP, Columbia University, New York
WHAT A BODY CAN’T DO / Sophie Goltz über Regina José Galindo im Frankfurter Kunstverein und Maria José Arjona in der Kunsthalle Osnabrück
NACHRUFE / OBITUARIES
PIERRE BOULEZ (1925–2016)
by Björn Gottstein
ZAHA HADID (1950–2016) by Than Hussein Clark
$30.00 - In stock -
Texts by Melanie Gilligan, Jenny Jaskey, Fionn Meade, Kari Rittenbach, Piper Marshall
Descartes’ Daughter, edited by Piper Marshall, former curator of the Swiss Institute in New York, documents the critically lauded 2013 exhibition of the same name as well as continuing its ideas. Taking the historical account of philosopher René Descartes’ creation of an animatronic effigy of his deceased young daughter as its foundation, the exhibition explored the traditional divide between conceptual and expressive works, those dealing with either the mind or the body.
The reader includes five essays that explore the room in between this divide, both within the works exhibited and beyond. Fionn Meade, curator at the Walker Art Center, submits a poetic elegy to René Descartes, placing his ideas and the discussion around them at the center of this book. Jenny Jaskey, director and curator of the Artists’s Institute, writes on scale and the subjective, metabolic qualities of “human.” Piper Marshall asks how one can curate a feminist art exhibition, firmly merging the discussion.
Copublished with Swiss Institute following the exhibition“Descartes’ Daughter” (September 20–November 3, 2014), with works by Malin Arnell, Miriam Cahn, John Chamberlain, Hanne Darboven, Melanie Gilligan, Rochelle Goldberg, Nicolás Guagnini/Jeff Preiss, Rachel Harrison, Charline von Heyl, Lucas Knipscher, Jason Loebs, Ulrike Müller, Pamela Rosenkranz, Karin Schneider, and Sergei Tcherepnin.
Design by Li Inc., New York
Softcover, 260 pages, 30 x 23 cm
Published by Bergen Kunsthall / Norway
$67.00 - In stock -
Published on the occasion of the first major institutional show by American artist Will Benedict, held at the Bergen Kunsthall in Norway, 31 October–14 December 2014, this heavy, visually-encompassing volume documents this exhibition along with many exhibits across the last few years. All designed by Will and Theodoros Gennitsakis, edited by Martin Clark and Steiner Sekkingstad.
Corruption Feeds is Will Benedict’s largest and most ambitious exhibition to date. It demonstrates the full breadth of his practice as an artist, curator and, most recently, filmmaker. Dividing the galleries at Bergen Kunsthall into a solo exhibition and a curated group show, his own works are brought into dialogue with an eclectic selection of found visual material, as well as works by a number of artists invited by Benedict, including Wolfgang Breuer, Clegg & Guttmann, Howard Finster, Gaylen Gerber,Tom Humphrey, Inventory, Fredrik Kolstø, David Leonard, Michele Di Menna, Pentti Monkkonen, Puppies Puppies, Lin May Saeed, Lucie Stahl, Anders Svarstad, Sergei Tcherepnin, Paul Theriault and Karl Uchermann.
Across the various different aspects of the exhibition, Benedict addresses themes of global distribution, agriculture, marketing and trade. The group section of the exhibition includes a new video, commissioned by Bergen Kunsthall and made by Benedict in collaboration with the artist and journalist David Leonard. Shot in various locations in France, Norway, India and the USA, it explores the transnational politics of food distribution through reportage, interviews and analysis, with various protagonists featuring a talking dolphin, giant rats and human rain. Other works in this section of the show further develop these ideas, and go on to address the marketing and advertising languages of the last three decades, revealing the symbiotic, or perhaps cannibalistic, relationship between contemporary art and commercial design and advertising—a space which Benedict’s own work frequently inhabits and explores.
Will Benedict (b. 1978) lives and works in Paris.
Softcover, 160 pages, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - Out of stock
Andra Ursuta by Joanna Fiduccia; Shanzai Biennial by Kevin McGarry; Sergei Tcherepnin by Lawrence Kumpf; Yngve Holen by Pablo Larios; Petrit Halilaj by Elena Filipovic.
INSERT by Benjamin Senior
MAIN THEME - Post-i-Meta-Hyper-Materiality
Post-Materiality by Karen Archey; I-Materiality by Veronica So; Meta-Materiality by Rebecca Geldard; Hyper-Materiality by Ruba Katrib.
INSERT by Jochen Lempert
MONO - Massimiliano Gioni
Essay by Jonathan Griffin; Interview by Francesco Manacorda.
INSERT by Sterling Ruby
Futura: Amalia Ulman by H. U. Obrist and S. Castets; Vis-à-Vis: Carron meets Cornaro by Gary Carrion-Murayari; Producers: Alice Rawsthorn by Felix Burrichter; Panorama: Hong Kong by Leung Chi Wo; On Exhibitions: Black eyes and lemonade by Laura McLean-Ferris.
2012, English / Japanese
Softcover, 24 pages (24 ill.), 21 x 15 cm
Published by Taka Ishii Gallery / Tokyo
$27.00 - Out of stock
This publication was produced to accompany a collaborative audio-visual performance installation by Ei Arakawa and Sergei Tcherepnin that was on view from December 17 - January 14, 2012, at Taka Ishii Gallery in Tokyo, Japan. It features thorough photographic documentation of the works from the installation and the performances within the gallery, as well as texts by the artists.
Ei Arakawa (b. 1977) and Sergei Tcherepnin (b. 1981), both live in New York. They began collaboration in 2007. Previous solo exhibitions and projects include: Künstlarhaus Stuttgart, Germany (2009); Tbilisi 6.Never On Sunday, Georgia (2009); Casco, Utrecht, The Netherlands (2010), Vox Populi, Philadelphia, USA(2010); The Showroom, London (2011); CAC Brétigny, Paris (2011).
Ei Arakawa is based in New York since 1998. Working almost always collaboratively, his work “structurally evades forms of production that could be ascribed to, or referred back to a single subject.” Selected performances and exhibitions: Tate Modern, London (2012); Kunsthalle Zürich, Switzerland (2011 and 2009); Le Printemps de Septembre, Toulouse, France (2011); The Museum of Modern Art, New York (2011); DAAD Gallery, Berlin (2011); Kunsthaus Bregenz, Austria (2011); Wiels, Brussel, Belgium (2011); Frieze Project, London, United Kingdom (2010), Galerie Neu, Berlin (2010).
Sergei Tcherepnin is a Brooklyn-based artist who uses performance, composition, and installation to explore the materiality of sound and its physical and psychological effects on the listener. Selected performances and exhibitions: Performa11 at New Museum, New York (2011); Murray Guy, New York (2011); 47 Canal, New York (2011); Societé, Berlin (2011); Tokyo Wonder Site, Shibuya (2011); Audio Visual Arts, New York (2010); Roulette, New York (2010); The Stone, New York (2008); Merkin Hall, New York (2008). His compositions have been performed by Da Capo Chamber Players, St Luke’s Chamber Ensemble, American Wind Symphony Orchestra. He is a 2012 Artists-in-Residence at ISSUE PROJECT ROOM, New York.
Softcover, 86 pages, 31 x 23 cm
Published by Provence / Nice
$25.00 - In stock -
With contributions by Nadja Abt / Ann-Leonie Auer / Michele d’Aurizio / Juliette Blightman / Mikaël D. Brkic / Eli Broad with photos by Jay Chung and Q Takeki Maeda / Merlin Carpenter / Gürsoy Dogtas / Martin Ebner / Genoveva Filipovic / Edgars Gluhovs / Mauricio Guillén / Julian Göthe / Alexander Hempel / HIT / Tom Holert / Karl Holmqvist / Morag Keil / Nina Könnemann / Adriana Lara / Andrea Legiehn with an illustration by Siw Umsonst / Amy Lien and Enzo Camacho / Erik Lavesson with Milena Büsch, Kelly Akashi and Anna Zacharoff / Adam Linder and Shahryar Nashat / Fred Lonidier with Egija Inzule / Fiona McGovern and Magnus Schäfer / Luise Pilz / François Piron / Bonny Poon / Gottfried Schnödl / Silberkuppe / Mathew Sova / Maraike Steding / Megan Francis Sullivan / Sergei Tcherepnin / Benjamin Thorel / Danh Vo / Colin Whitaker / Amy Yao a.o., including A document made by Paul Thek and Edwin Klein / Textiles: Open Letters by Rike Frank and Grant Watson / A reportage on Andreas Dorau / Lars Eidinger on Rainer Werner Fassbinder / A retrospective account of a 1990 artwork by Silvia Kolbowski / Fernando Mesta on Joseph Strau’s jewelry / A Drive by Robert Walser with an introduction by Susan Bernofsky
Graphic Design: Pascal Storz