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.
Softcover, 500 pages, 21.5 x 15.7 cm
1st Edition, Out of print title / used*,
Published by Purple Institute / Paris
$120.00 - Out of stock
Purple 6 Winter '00 '01
fashion, prose, special fiction, interior
A rare early issue of the iconic Purple magazine, edited by Elein Fleiss and Olivier Zahm, this wonderful early edition features work by: Richard Prince, Susan Cianciolo, Bless, Cris Moor, Lutz, Maison Martin Margiela, Hermés, Giasco Bertoli, Junya Watanabe, Comme des Garçons, Lars Botten, Bernhard Willhelm, Hussein Chalayan, Camille Vivier, Cosmic Wonder, Fendi, Terry Richardson, Anders Edstrom, Balenciaga, Vanina Sorrenti, Helmut Lang, Banu Cennetoglu, Veronique Branquinho, Chikashi Suzuki, Marc Jacobs, Ann-Sofie Back, Lodge Kerrigan, Mark Borthwick, Olivier Zahm, Jeff Rian, Bernard Joisten, Bruce Benderson, Andy Stillpass, Bennett Simspon, Dominique Gonzalez-Foerster, Pete Taylor, Jason Simon, Pablo Leon De La Barra, Panu Aree, Tim Griffin, Dayton Taylor, Dike Blair, Gareth James, Michael Drake, Antek Walczak, Guillaume Nez, Tom Betterton, John Kelsey, Cheryl Donegan, Mark Fishman, Ole Scheeren, Sarah Gavlak, Alix Lambert, Tan Lin, Sharon Mesmer, Sharon Mesmer, Peter Josephs, Benjamin Weismann, Jordan Davis, Fred El Bekkay, Michael Danner, Giasco Bertoli, Andreas Larsson, James Gooding, Alex Antitch, Elein Fleiss, Henry Roy, Rami Maymon, Torbjorn Rodland, Marcello Simeoni, Delphine Roque, Michael Danner, Stefan Ruiz, and many many more.
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine and Purple. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple.
Softcover, 274 pages, 27.9 x 21.5 cm
Published by Walther König / Köln
$40.00 - In stock -
299 792 458 m/s is a magazine created in 2016 by Robert Kulisek and David Lieske in New York City. It’s inaugural Issue, The American Issue brings together a large variety of contemporary photographers, stylists, artists and designers with a focus on a transatlantic network that heavily influences the current fashion discourse.
299 792 458 m/s was inspired by Sibylle, the only fashion publication in existence during the former German Democratic Republic (1956 – 1989).
As a meta-fashion magazine, Sibylle operated with minimal access to western designer clothes, and opened up historical possibilities into uncharted territories of fashion-photography.
Marie Angelletti, Claire Christerson, Than Hussein Clark, Marcus Cuffie, Buck Ellison, Dese Escobar, Heike-Karin Föll, Matt Holmes, Annette Kelm, Eckhaus Latta, Andrea Longacre-White, Torbjørn Rødland, Ryan Wei, Dena Yago, H.B. Peace, Centre for Style, and many more.
Softcover, 382 pages, 24 x 17 cm
Published by Distanz / Berlin
$50.00 - Out of stock
The Present in Drag is published as a companion volume to the 9th Berlin Biennale for Contemporary Art, which was curated by New York collective DIS. Providing information on the works shown in the exhibition, it also includes contributions by Roe Ethridge, Simon und Daniel Fujiwara, Boris Groys, Katja Novitskova, Chus Martinez, Bjarne Melgaard, Sean Patrick Monahan, Sabine Reitmaier, McKenzie Wark, and others.
The 9th Berlin Biennale for Contemporary Art features the work and contributions of: 69, Antoni Abad, Halil Altindere, Ei Arakawa (in collaboration with Dan Poston, Stefan Tcherepnin), Korakrit Arunanondchai/Alex Gvojic, atelier le balto, Armen Avanessian/Alexander Martos (in collaboration with Christopher Roth), åyr, Will Benedict, Julien Ceccaldi, Centre for Style
(in collaboration with Anna-Sophie Berger; Burkhard Beschow & Anne Fellner; Max Brand; Rare Candy with Alden Epp, Spencer Lai, Natasha Madden, Misty Pollen, Ander Rennick & Amber Wright; Susan Cianciolo; Marlie Mul; Liam Osborne; H.B. Peace & Kate Meakin; Joshua Petherick; Lin May Saeed; Eirik Sæther), Brody Condon, CUSS Group (in collaboration with ANGEL-HO, FAKA, Megan Mace, NTU), Kathleen Daniel, Debora Delmar Corp., Simon Denny with Linda Kantchev, Cécile B. Evans, Nicolás Fernández, Lizzie Fitch/Ryan Trecartin, Simon Fujiwara, GCC, GUAN Xiao, Calla Henkel/Max Pitegoff, Camille Henrot, Yngve Holen, Alexa Karolinski/Ingo Niermann, Kartenrecht, Josh Kline, Korpys/Löffler, Nik Kosmas, M/L Artspace, Shawn Maximo, Ashland Mines, Katja Novitskova, Trevor Paglen/Jacob Appelbaum, Juan Sebastián Peláez, Adrian Piper, Alexandra Pirici, Josephine Pryde, Puppies Puppies, Babak Radboy, Jon Rafman, Timur Si-Qin, Lucie Stahl, Hito Steyerl, TELFAR, Christopher Kulendran Thomas, Wu Tsang, Anna Uddenberg, Amalia Ulman, Anne de Vries, Abu Hajar, Halil Altindere, Math Bass, Lizzi Bougatsos & Brian DeGraw, Elysia Crampton, Lizzie Fitch/Ryan Trecartin, Isa Genzken, Juliana Huxtable, Kelela, Nguzunguzu, PATRICIA (Patricia Satterwhite, Jacolby Satterwhite, Nick Weiss), Adrian Piper, Fatima Al Qadiri, Carles Santos, Hito Steyerl, Total Freedom, Amalia Ulman, Antoni Abad, åyr/Rem Koolhaas/Hans Ulrich Obrist, Kathleen Daniel, Cécile B. Evans and Andrew Snyder-Beattie, Oleg Fonaryov and Oleksiy Radynski, Simon & Daniel Fujiwara, GCC, Boris Groys, Rob Horning, Izabella Kaminska and Simon Denny, Chus Martínez, Meredith Meredith, Sean Monahan, New Scenario, Ingo Niermann, Alexandra Pirici, Puppies Puppies, Sean Raspet, Natasha Stagg, Amalia Ulman, Sencer Vardarman, Eduardo Viveiros de Castro and Déborah Danowski in conversation with Michelle Sommer and Daniel Steegmann Mangrané, McKenzie Wark, Will Benedict, Dora Budor, Cao Fei, Roe Ethridge, Hood by Air, Bjarne Melgaard, Simon Dybbroe Møller, Zanele Muholi, Johannes Paul Raether, Torbjørn Rødland, Akeem Smith, Martine Syms, Stewart Uoo, Nina Cristante, Sabine Gottfried, Nik Kosmas, Lesley Moon, Helga Wretman, Frank Benson, Asger Carlsen, DIS, Casey Jane Ellison, Roe Ethridge, Avena Gallagher, Saemundur Thor Helgason, Tilman Hornig, Benjamin Alexander Huseby, Chris Kraus, Bjarne Melgaard, Jason Nocito, Babak Radboy, Sean Raspet, Sabine Reitmaier, Aaron David Ross, Andrew Norman Wilson, Anonymous, Anonymous, Anonymous and others.
Softcover (cloth-bound), 112 pages, 21.6 cm x 28 cm
Published by Mack Books / London
$86.00 - In stock -
A dictionary will tell you that confabulations are memory disturbances; the production of fabricated, distorted memories about oneself and the world, but without a conscious intention to deceive.
“Subjectivity is not the master signifier of the image,” writes Ina Blom of Rødland’s work, “Nor is it lost in a vortex of abstractions: it is quite simply one point of connectivity among many. The camera, with its associated range of lenses, aperture settings, lighting devices, and film types, is another. […] The emphatic sheen, sleek glamour and casual perversity still thrive, but they take on an independent existence as new textural realities – as if to speak of a material world that we can never fully know."
With Confabulations, Torbjørn Rødland presents a set of analogue photographs that subtly misrepresents broken memories and childhood fantasies. Confabulations distorts facts to get to truth. Fragmentation is neither rejected nor induced in this unitary approach, but seen as a starting point for new connections. Beneath a million silly memes Rødland is looking for new soul.
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
Hardcover, 150 pages (colour ill.), 22 x 26.5 cm
Published by Walther König / Köln
$50.00 - Out of stock
Torbjørn Rødland: Sasquatch Century presents a rich visual flow of Norwegian artist Torbjørn Rødland’s work, followed by an introduction by curator Milena Hoegsberg, and a commissioned essay by writer and curator Linda Norden. Norden’s text, digests the beginning photographic rhythms, and provides an insightful lens to interpret and re-examine Rødland’s complex practice. As Norden says:
“The question we are left with is less about what to make of a given image’s contents than it is about Rødland’s larger ambition toward symbolism, or the workings of a post-millennial mythology. These are ambitions that set him apart from his predecessors; but his photography still trades on the manipulative strategies of advertising and institutional politics that have dominated culturally savvy, would-be critical photography from at least the Pictures Generation onward. Throughout, the question has been: How might images that traffic in cultural coding do more than serve as catechisms for the feedback loops that define our moment?”
The title Sasquatch Century refers to the mythical, hairy, humanoid creature historically viewed as the precursor to Bigfoot. The Sasquatch has been solidified in mythology and pop-culture through a simultaneous belief in and denial of its existence. As such the phenomenon embodies many of the artist’s interests in activating the tension between myth and reality, between the familiar and ungraspable, and the constructed and authentic.
The publication supplements the exhibition of the same title on view at Henie Onstad Kunstsenter January 23 – April 26, 2015.
Softcover, 256 pages (colour ill.), 23 x 30 cm
Published by Kaleidoscope Press / Milan
$22.00 - In stock -
Kaleidoscope’s newest release, Issue 22 (Fall 2014), introduces a completely redesigned and revamped version of the magazine, under the visionary art direction of Munich-based Bureau Mirko Borsche. The magazine’s new direction combines its defining curatorial and interdisciplinary approach with an emphasis on the power of images and a keen attention to the update, and is best epitomized by the new cover tagline: VISUAL CULTURE NOW.
In the renovated opening section of HIGHLIGHTS, twelve profiles account for the best of the season: Boychild (by Francesca Gavin), Ed Fornieles (by George Vasey), Adriano Costa (by Laura McLean-Ferris), Liu Chuang (by Venus Lau), Carol Rama (by Jesi Khadivi), Tabor Robak (by Alex Gartenfeld), Jana Euler (by Martha Kirszenbaum), Guan Xiao (by Pablo Larios), Alex Da Corte (by Piper Marshall), David Ostrowski (by Peter J. Amdam), Aphex Twin (by Francesco Tenaglia), and Torey Thornton (by Ross Simonini).
To follow, our signature MAIN THEME section, titled SO NY, is dedicated to practices informed and inspired by the city of New York. From the gritty urban feeling to the great sense of community — living and working in NYC provides endless inspiration and fuel for artists and creators. We have selected four pairs, from different generations and circles, to share memories and discuss perspectives: Jeffrey Deitch and Fab 5 Freddy, Chris Martin and Joyce Pensato, Brendan Dugan and Ari Marcopoulos, and Cecilia Alemani and Marianne Vitale. The result is a choral tale of convergences, strategies, connections, and old and new magics. Enriched with a collectable poster by Ari Marcopoulos!
On the other hand, the MONO section and cover story are dedicated to Norwegian, Los Angeles-based photographer Torbjørn Rødland. Seemingly speaking the fetishistic idiom of advertisement, marketing and food photography, Rødland’s images are in fact pervaded by the most compelling kind of perversity and haunted by boredom, spiritual longing, and a sense of aftermath. This monographic survey comprises an essay by Chris Sharp, an interview by Hanne Mugaas, and original portraits by Trine Hisdal.
Later on, a brand new section invites the eye to an enthralling journey across over 80 pages of visual contributions by artists, curators and image-makers, affirming the magazine’s centrality as a tool to show and experience art. This issue’s VISIONS include “Chopped & Screwed: Austin Lee and David Benjamin Sherry,” curated by Alessio Ascari; H.R. Giger’s “Biomechanoid”; Dorothea Tanning’s “Paintings”; Alexandra Bachzetsis’s “From A to B via C”; “Rondes Bosses,” curated by Nicolas Trembley; Chris Wiley’s “Technical Compositions”; and David Rappeneau’s “$$$$$$$$$$$$$$$$$$$$$$$$$$$.”
Lastly, the closing section of REGULARS features our insightful columns on the past, present and future of art and culture: in the first installment of Futura 89+ Hans Ulrich Obrist and Simon Castets interview American poet Andrew Durbin; Producers features Carson Chan’s conversation with Artsy’s founder Carter Cleveland; Christopher Schreck explores Francesco Clemente’s India as part of the Panorama series; and in Pioneers Fredi Fischli and Niels Olsen talk to legendary artist Ashley Bickerton.
Softcover (newspaper), 37 x 26 cm
Published by Mousse Publishing / Milan
$18.00 - Out of stock
In this issue:
On Art and Film, Art and Moving Images, Ross Birrell and David Harding, Yve Laris Cohen, Con Jobs, Douglas Coupland, Heinrich Dunst, Jimmie Durham, Ed Fornieles, Brennan Gerard and Ryan Kelly, Patrick Jackson, Wyatt Kahn, Amar Kanwar, Isabel Lewis, Liberation through Laziness, Heather Phillipson, Organic Photography, Torbjørn Rødland, Surrealism and Tags, Philippe Thomas, Brad Troemel, The Artist as Curator.
THE ARTIST AS CURATOR is a serial publication* examining the fundamental role artists have played as curators, from the postwar period to the present. The series is edited by Elena Filipovic and made possible by an engaged group of art institutions and foundations, each of which is supporting the research and publication of one installment of the project. Issue #1 is devoted to an Exhibit by Richard Hamilton and Victor Pasmore, with an essay by Isabelle Moffat, and to John Cage’s Rolywholyover A Circus for Museum by John Cage, discussed by Sandra Skurvida. This issue is supported by Bergen Kunsthall.
Contemporary capitalism prods us to stick with the program and do our best. Sven Lütticken offers fascinating insights into the concepts of sleep and boredom and the potential of refusal as a counter-politics of the times.
Martin Herbert investigates Ed Fornieles‘s role play-driven social events, repurposed social media projects, and sculptural installations which explore the formatting—and, potentially, freeing—of subjectivity.
Performer, dancer and curator Isabel Lewis calls her works “occasions.” They blend physical and intellectual aspects, engaging the audience while defying theatrical conventions. Lewis talks with Hans Ulrich Obrist, looking forward to a work in the making: the creation of architectures of odors.
Douglas Coupland has suddenly discovered that he was the prophet behind the video game Minecraft. In his text, he follows a trail of miniature Lego bricks leading from the National Building Museum of Washington DC to the extraordinarily nimble little fingers of a five-year-old digital native.
Apsara DiQuinzio asks Ed Atkins, Eric Baudelaire, Nathaniel Dorsky, Mark Lewis,Lucy Raven, Ben Rivers, Anri Sala, and Hito Steyerl to probe the current dynamics between contemporary art and moving images.
Amar Kanwar has blazed a unique trail between cinema and visual art. A conversation with Andrea Lissoni attempts to investigate the artist’s approach, method, vision and stance.
Flickr, Instagram, Google Image Search, the iPhone: how to understand the extraordinary expansion and transformation of photographic practice in digital networks? With this question in mind, Jacob King looks back to the photographic activities of Surrealism.
The strange and ugly, yet also familiar and ordinary, photographs of Torbjørn Rødland catch us in a mixture of reactions, triggering shivers and comfort at the same time.Jens Hoffmann introduces some works of the artist, while photographer Lucas Blalock asks Rødland about his meditations on the medium.
Photography has become the intrinsic and organic container of our lives and identity, but artist Christoph Westermeier never had his picture taken as a child. Jennifer Allenanalyzes his (photographic) work.
Following Chris Dercon‘s proposal of a conversation on the theme of art and film and the relationship between the two, George Clark poses some questions to the director of Tate Modern, Tine Fisher (director of CPH:DOX) and Jean-Pierre Rehm (director of FIDMarseille).
Softcover, 450 pages, 23 x 30 cm
Published by Purple Institute / Paris
$45.00 - Out of stock
Featuring: Petra Collins, Katsuya Kamo, Mark Mahoney, Jon Rafman, Torbjørn Rødland, Aaron Stern, Jeanette Hayes, Midnight Magic, Joseph Kosuth, Bruno Pieters, Rémi Paringaux, Kerim Seiler, Christophe Brunnquell, Anna-Sophie Berger, Klara Lidén, Mike Krieger, Amalia Ulman, FlucT, Laurence Owen, Elias Redstone, Masafumi Sanai, Delfina Delettrez, Miroslav Tichý, Aron Mörel. Plus the best of Spring/Summer 2014 collections by Terry Richardson and Caroline Gaimari; Interviews with Juergen Teller, Vito Acconci, Junya Watanabe, Jean-Philippe Delhomme, Maurizio Cattelan and Giorgio Moroder; Photo essays by Ryan McGinley and Ren Hang as well as a supplementary book by Juergen Teller. Plus a whole heap more.
Purple is a bi-annual fashion and art magazine that celebrates the work of the best and most relevant figures in fashion, photography and contemporary art from around the world.
Due to the weight of this volume, your order may incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
Hardcover (cloth-bound, embossed), 158 pages, 21.5 x 25.5 cm
Published by Mack Books / London
$79.00 - Out of stock
Torbjørn Rødland's photography is direct but idiosyncratic, pushing at the boundaries of aesthetic and social norms. His fifth book, Vanilla Partner, continues in this vein, combining images of fetishized isolation in a layout that rejects the linear structure of thematic photography books.
Rødland’s practice navigates through the problematic and seemingly unchanging heart of popular photography. Accepting neither the humanist realism of most photographic portraiture nor the postmodern role-play, Vanilla Partner explores the cultural complexities and archaic foundation of contemporary image-making. Reconstructed scenes of ultrasoft BDSM read like twisted metaphors for photography’s ability to freeze or capture. The book title, dripping in innuendo, also poses a question about the ambiguity of the relationship between the artist and his medium. Is Rødland acknowledging the medium’s straight foundation or does he see himself dominated by it? Many of the images also have explicit political references, often linked to the 1980 US Presidential election.
Vanilla Partner brings together works made in Oslo, Tokyo, Beijing and Rødland’s current home, Los Angeles.
Torbjørn Rødland was born in 1970 in Hafrsfjord, Norway. Since the mid-90s his photographs have been exhibited widely.
Hardcover (cloth-bound), 172 pages, 20 × 25 cm
Published by Standard Books / Oslo
$54.00 - Out of stock
This cloth-bound volume documents the first seven years (2005-2012) of STANDARD (OSLO), a contemporary art gallery in Norway, at their first location of Hegdehaugsveien 3. During which time work was exhibited by Matias Faldbakken, Kim Hiorthøy, Michaela Meise, Johanna Billing, Claire Fontaine, David Lieske, Cory Arcangel, Martin Boyce, Gardar Eide Einarsson, Tauba Auerbach, Torbjørn Rødland, Josh Smith, Marius Engh, Emily Wardill, Franz West, Sister Corita Kent, Edvard Munch, Franz West, Alex Hubbard, Hans-Peter Feldmann, Oscar Tuazon, Raymond Pettibon, Lucy McKenzie, Olaf Breuning, Roe Ethridge, Uwe Henneken, Ricky Swallow, Richard Prince, Adam McEwen, Camilla Løw, Jutta Koether, Dan Rees, Fredrik Værslev, and many more.
Softcover, 200 pages, 275 x 211mm
Published by Doingbird / Sydney
$14.00 - In stock -
Doingbird Seventeen, 2013
features Roe Ethridge, Walter Pfeiffer, Torbjørn Rødland, Shauna T, Fergadelic, Ryan Foerster, Max Doyle, Peter de Potter, Rene Vaile, Paul Wetherell, Ben Toms, Catherine Opie, Max Natkiel and much more.