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.
2015, English / Italian
Softcover (newspaper), 302 pages, 37 x 26 cm
Published by Mousse Publishing / Milan
$18.00 - In stock -
In this issue:
Lawrence Abu Hamdan, Art and Literature, Darja Bajagić, Walter Dahn, Fiction in Reality, Have We Become the Internet?, Lynn Hershman Leeson, The History of Exhibitions, Intimacy in Art, Nicholas Mangan, Park McArthur, The Multiplication of Moving Perspectives, Opening up to the Unexpected, Philippe Parreno and Paul B. Preciado, Systems Prosthetics, Time as Material, The Withdrawal of the Artist, Betty Woodman, Steina and Woody Vasulka.
Driven by the energy of art writing and artists' writing, contemporary literature seems to be consciously migrating into the art world. Some artists exist halfway between the two worlds and are evolving the most innovative characteristics of the literary canon. Brian Dillon attempts to analyze this type of writing, its practice and its potential.
Philippe Parreno and Paul B. Preciado, a philosopher, writer and activist at the helm of the Independent Studies Program of the MACBA, raise ground-breaking questions ranging from the coercion of the public by the institution to processes of disidentification from dominant sexual identities, in a conversation conducted by Hans Ulrich Obrist.
Starting in the 1990s, the history of exhibitions has taken on greater resonance in art writing. One precursor of this fundamental type of research was Bruce Altshuler, with his The Avant-Garde in Exhibition. Altshuler, Jens Hoffmann and Elena Filipovic engage in an extensive conversation on the history of exhibitions and the role artists have in organizing them.
Chus Martínez analyzes the beauty of an ecology of events of little interest for the market, but driven by an energy that might pressure the system to open to the unexpected, to balance out the impulse to guarantee results before any attempts have been made to break new ground.
The work of Lawrence Abu Hamdan reveals how the forensic linguistics applied to test the accents of political asylum applicants is often unreliable, on a par with the many audio charlatans hired to ascertain the origins of individuals. The artist discusses all this with Mihnea Mircan.
Youthful transgressions, previously fueled by romantic literature, have been transformed into desire for extreme self-assertion modeled on "first-person-shooter" video games and action movies. Ingo Niermann wonders about how it might be possible to reverse this trend, through the introduction of a positive kind of transgression.
What does it mean to be human in the light of increasingly pervasive technological developments? Omar Kholeif moderates a conversation between Constant Dullaart, Zach Blas and James Bridle, artists who have reflected at length on the impact of the integration of software and algorithms on everyday life.
Michael Wang explores the aesthetics of an art that actively engages with different systems, and the perspective of artists as they consider the objectives, limits and structure of a work that is no longer a matter of objects, but nimbly moves through the folds of these systems as energy.
A handful of artists over the last 50 years have "self-absconded" from the public eye and the social whirl of the system. Martin Herbert discreetly tracks several of them to formulate a hypothesis that reflects an increasing schism between the needs of artists and those of the art world.
Lynn Hershman Leeson's work is an incessant exploration of the nature of consciousness and its extension via technology. Kathy Noble gives an exhaustive overview of her versatile output, from the early pieces to films on identity, cloning and feminist politics featuring Tilda Swinton.
Confession in art can lead to works plagued by egocentric attitude or can bring results of genuine "alongsideness," where the social becomes visible without recourse to reconstruction. Lauren Cornell and Johanna Burton analyze works and artists that have been able to make critical use of intimacy.
Nice to Meet You:
The theme of access and the tensions involved in its possibility are the fulcrum of Park McArthur's production and the focus of this interview with Daniel S. Palmer.
Natalia Sielewicz talks to Darja Bajagić whose work recontextualizes saucy images seen as stereotypes by Western eyes, granting them a sort of liberating ambiguity.
Steina and Woody Vasulka are leading exponents of the video experimentation that began in the late 1960s. Elyse Mallouk analyzes their works from various decades in the light of our growing relationship with the inorganic systems that nurture our relationships of feedback.
Joan Jonas, Ken Okiishi, Jennifer West, and Lucy Raven meet on the common ground of work located at the intersection between visual arts, moving image and performance. In a conversation introduced and moderated by Filipa Ramos they share their ideas and discuss their practice and its relation to time, history, popular culture, theater and narrative.
Australian artist Nicholas Mangan talks to Mariana Cánepa Luna about his work that investigates the troubled relationship between man and the natural environment, and analyzes contexts and objects capable of freeing up narratives that take stock of reality.
Andrew Berardini visits the big clay-dusted studio-vase of Betty Woodman. Her chubby ceramic odalisques, with their alluring forms, covered with fragments of precious stones, embroideries and miniatures, tug him into a grand theater of forms and colors, wild things and aquatic creatures.
Walter Dahn indicated a path for art after conceptualism with his new way of thinking about painting. Daniel Schreiber met with the artist in his home in Cologne to talk about the artist's story and recent works, a series of silkscreens linked to the revolutionary power of music.
After the linear perspective of the Renaissance, new perspectives have been explored, starting with chronophotography and the overturning of vertical or bird's-eye perspective. Jennifer Allen investigates these various perspectives in relation to a number of contemporary artists who have reached multiple, mobile and fragmented visions.
The Artist as Curator
Issue #6 an insert in Mousse Magazine #47
Mel Bochner, Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art, 1966
Hank Bull, Shen Fan, Zhou Tiehai, Shi Yong, and Ding Yi, Let's Talk About Money: Shanghai First International Fax Art Exhibition, 1966