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, 72 pages, 17 x 24 cm
Published by Art Against Art / Berlin
$18.00 - In stock -
The art market is being kept alive with constant stimulus in the form of Venice-Basel-Kassel-Athens-Frieze-TEFAF. As the series of electric shocks continue, the art market is still in a period of reconfiguration trying to find longevity in the new. Whereas the art fair format inherently lacks culture – merely being a market place/forum for where exchange takes place – the biennial format has become too broad to create lasting cultural meaning; therefore the art market must look elsewhere for metrics of value. But if it only finds mirrors of its own logic (the free market itself), it will do nothing more than to accelerate the process upon which it has been organizing itself.
Definitions of culture have traditionally meant that the market can reflect on them too to prevent it from being flippant and volatile. The free market functions anchorless and incomprehensible without definitions – landmines of bubbles created without any meta signifier or even private collections and museums springing up that hang on the whim of the collector/personality/entrepreneur rather than frames of reference that create wider cultural value.
Contemporary art will only be able to reach the appreciation and longevity of modern art when...
Iain Robertson – What Drives the Value of Art?
Taslima Ahmed – Burning Man and the New Face of Art
Interview with Klaus Theweleit – No One Wins, It’s a War of Men - The Need for Cyborgs with Enhanced Human Potentials
Image Spread by Guan Xiao
Andrew Rankin – The Dangerous Art of Yukio Mishima
Antek Walczak – Boredom Year Point Oh
Image spread by Jeff Berwick
Samuel Veissière – Is the Self a Tulpa?
Artist edition by Marina Pinsky
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.
2016, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - Out of stock
ISSUE NO. 101 / MARCH 2016 “POLARITIES”
Issue No. 101 of Texte zur Kunst takes “Polarities” as its theme – a term we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. How do we understand the growing gap between the ideals of tech/smooth space (where the art world tends to reside, swiftly neutralizing any resistance as “content”) and the striated regions of material unrest? How do we understand “polarization” despite our dominant, and inherently continuous, neoliberal system? Given these macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves, could the image of polarization be something not to avoid but to engage; perhaps even a potentially generative model for times that are anything but ideology-free?
TABLE OF CONTENTS
ET SOUS LA PLAGE … ? / Philipp Felsch interviews Timothy Brennan on the state of left theory
ALWAYS POLARIZE? / Conditions and limitations of a model of argumentation
LIBERTY, EQUALITY, SECURITY / Four questions for Carolin Emcke
ENTER THE VOID / Roy Scranton and @LILINTERNET on hyperreality and reflexive narrative
DANIEL COLUCCIELLO BARBER AND DAVIS RHODES
THE TERROR WITHIN
HEIMAT / Notes on the enduring renaissance of an idea
"12 PHOTOGRAPHS OF ULRIKE MEINHOF" / Taken in October 1966 for "Konkret" by Inge-Maria Peters
NATIONAL CUSTOMS / Sven Lütticken on Germany's Kulturgutschutzgesetz
IST DER MENSCH DOCH NOCH ZU RETTEN? / Svenja Bromberg über Nina Powers Aufsatzsammlung „Das kollektive politische Subjekt“
HEY MOTHERFUCKERS, HERE IS YOUR GENERATIONAL NOVEL / Tobias Madison über Seth Prices Roman „Fuck Seth Price“
Hans-Jürgen Hafner über Daniel Richter in der Schirn Kunsthalle, Frankfurt/M. / Astrid Mania über Verena Pfisterer bei Exile, Berlin / Ana Teixeira Pinto on Július Koller at the Museum of Modern Art, Warsaw / Beate Söntgen über Joan Mitchell im Museum Ludwig, Köln / Daniel Keller on Peter Fend at Barbara Weiss and Oracle, Berlin / Manfred Hermes über Anne Speier bei Silberkuppe, Berlin
SPERRIGE NAHEVERHÄLTNISSE / Eva Kernbauer über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
DER GESCHMACK DES PRIVATEN / Barbara Buchmaier und Christine Woditschka über die Sammlung Würth im Martin-Gropius-Bau, Berlin
BENEFITS / Sarah Lookofsky on “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art, New York
NOBODY EVER DID WHAT WE DID / David Rimanelli on Dash Snow at the Brant Foundation Art Study Center, Greenwich, Connecticut
MALEREI MALGRÉ TOUT / Maria Muhle über „Painting 2.0“ im Museum Brandhorst, München
PUNK’S NOT DEAD, JUST DIFFERENT / Gili Tal on “Rum, sodomy, and the lash” at Eden Eden, Berlin
WITHIN YOU WITHOUT YOU / Jenny Nachtigall on Carolee Schneemann at Museum der Moderne, Salzburg
FREMDE ZUNGEN / Yilmaz Dziewior über „Slip of the Tongue“ in der Punta della Dogana, Venedig
LOCAL UNION / Rhea Anastas on Union Gaucha Productions at Artists Space, New York
Softcover, 160 pages, 15 x 21 cm
Published by The Renaissance Society / Chicago
$50.00 - Out of stock
The second of two books published alongside Strau's 2014 Renaissance Society exhibition, The New World, Application for Turtle Island, this features an essay by Jay Sanders alongside introductions to different aspects of Strau’s practice by artists with whom he has recently collaborated: Bernadette Van-Huy, Stefan Tcherepnin, Antek Walczak, Fernando Mesta, and José Rojas. Also included are full color images of the installation and an exhibition checklist, as well as an introduction by Solveig Øvstebø and a text by Strau.
Softcover, 287 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
The June issue of Texte zur Kunst is dedicated to the curator, a figure in the art field that has gained authority over the past two decades. Ever since Harald Szeemann’s trendsetting documenta 5 (1972), “the independent curator” has counted as a new preeminent player in the art world. No longer employed by a museum but instead an initiator and author of project-based presentations at various institutions, the figure of the curator is also associated with the emergence of thematic group shows in which artworks, everyday objects, and documents, as equally treated exhibits, are meant to illustrate a hypothetical curatorial concept. In the art world of the 1990s—which was characterized by relations and interdisciplinarity, contexts and displays—curatorial activities were both popularized and professionalized. Curators increasingly acted as skilled networkers whose influence also grew due to the rising number of international biennials. At the same time, the notion of the curator or of curating has expanded beyond the confined boundaries of the art field and can now be found in all areas of cultural production. Against this backdrop the June issue of Texte zur Kunst examines how this rapid rise came about and what curatorial power really means. Thus, a perspective is opened that allows taking a fundamental look at the hegemonic structures in the art business and its effects.
Plus reviews from Berlin, Bregenz, Heidelberg, Karlsruhe, London, Los Angeles, Madrid, New York, Siegen, Vienna, and Winterthur.
Exclusive new artists’ editions:
Nick Mauss, Thomas Ruff, and Imi Knoebel
The Curatorial Subject
The figure of the curator between individuality and collectivity
Beatrice von Bismarck
Between Art and Public
A roundtable conversation with Natasa Ilic, Maria Lind, Nicolaus Schafhausen, and Jakob Schillinger
Lucy R. Lippard: Curating (Within) the System
The Curator as Meta-Artist
The case of HUO
Values and Interests
Survey among artists on the relationship to curators, with contributions by Monica Bonvicini, Claire Fontaine, Mariechen Danz, Olaf Nicolai, Adrian Piper, Thomas Scheibitz
Some notes on status anxiety
Through a Looking Glass
On John Smith at Tanya Leighton, Berlin, and Kestnergesellschaft, Hannover
Kill yr. Idols
On You Killed Me First at KW Institute for Contemporary Art, Berlin
Attention, Deficit, Disorder
On Dirk Bell at Sadie Coles HQ, London
Comments on the 7th Berlin Biennial By Sven Lütticken, Margarita Tupitsyn, and Victor Tupitsyn
Pedro De Llano
On Hans Haacke at Museo Nacional Centro de Arte Reina Sofia, Madrid
Back to Basics
On Madison Brookshire and Tashi Wada at the Wulf., Los Angeles
Rites of Spring
On the Whitney Biennial 2012 at the Whitney Museum of American Art, New York
Mark Dion & Gareth James
Jackie McAllister – Silence with Great Eloquence
Not another word for it, 2012
Porträt 1989 (I. Graw), 1989/2012
Anima Mundi, 2012
Softcover, 146 pages, 13 x 20.5 cm
Published by Halmos / New York
$15.00 - Out of stock
D.A.F. de Sade with contributions by Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
Translation by Robin Mackay
Edited by Erik Wysocan
Weep no more, citizens; they breathe, these celebrated men for whom we cry; our patriotism reanimates them...
Presented in honor of Marat and Le Pelletier, "Citizen Sade" wrote this memorial address at the height of violence during the French Revolution, just after the start of the Reign of Terror. The text, effusive and cloyingly patriotic, brings to question Sade's own political position – a provocative impulse all the more remarkable given the addresses audience: the gathered Section des Piques, amongst the most hardline Jacobin districts of Paris. Though frequently cited and made infamous as the inspiration for Peter Weiss' influential work of avant-garde theater Marat/Sade, the text