World Food Books is a book shop in Melbourne, Australia.
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
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.
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Wurtz appears courtesy of Metro Pictures, New York.
December 15 - January 20, 2014
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
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
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
During shop open hours videos played every hour, on the hour.
$45.00 - In stock -
Edited by Daniela Zyman, Cory Scozzari
Contributions by Armen Avanessian, Daniel Garza-Usabiaga, Carl Michael von Hausswolff, Anke Hennig, Chus Martínez, Eva Wilson, Daniela Zyman
Appropriation, storytelling, reenactment, and reportage are some of the strategies that Mario García Torres deploys to highlight the limitations of factual evidence and the agency of historical records and objects. An Arrival Tale detaches the Mexican artist’s works in the TBA21 collection from their original contexts and offers them as a collection of narratives and artistic experiments open for reinscription in order to address the conditions and urgencies of our contemporary societies. It examines the space of arrival as a complicated and disjointed nexus between departure, displacement, and return.
This publication follows the eponymous exhibition at TBA21 – Augarten. While conceived in relation to the exhibition, this book is not a documentation, but rather the start of a journey that expands, explores, complicates, and undoes the thematic threads of spatial disjunction, recollection, asynchronicity, fictionality, and the politics of visibility.
Copublished with Thyssen-Bornemisza Art Contemporary, Vienna
Design by Studio Folder
Softcover, 196 pages, 13 x 21 cm
Published by Sternberg Press / Berlin
$35.00 - In stock -
Since the early 1800s, the institution of the university has promoted creativity, critical thinking, and independent research. The more it has yielded to the pressures of the economy, however, the more it has betrayed its ideals. This, in short, is the common critique of the plight of the academy. But the inverse might be true: the depression, feelings of insufficiency, and permanent pressure to innovate experienced by academics might be symptoms of these original ideals, which, along with artistic production and the regime of aesthetics, has shaped the spirit of neoliberal capitalism.
Philosopher and political theorist Armen Avanessian argues that the ethical dimension of knowledge can produce a new reality. Can the speculative poetics of collaborative writing, he asks, free us from the dominant regime of the academy and, by extension, the art world? And how does this independence differ from the principle of self-fulfillment on which the ideal of the university and current conceptions of artistic research are based?
Overwrite: Ethics of Knowledge—Poetics of Existence is about the desire to write differently to situate oneself in the world differently. It is a book about the truth that is produced when a subject takes responsibility for its thinking, its experiences, its conflicts; when a subject rewrites and overwrites itself to become an other, and transforms the world in the process.
Translated by Nils F. Schott
Design by HelloMe
Softcover, 108 pages, 11.5 x 19 cm
Published by Sternberg Press / Berlin
$24.00 - In stock -
With a preface by Armen Avanessian, an introduction by Hannes Grassegger and Markus Miessen, and a postscript by Patricia Reed
“At the heart of this book is a simple and profound proposition: to ‘do' architecture is to immerse oneself in a conflictual process of material production—participation is not a productive encounter of multiple practitioners and stakeholders, but a set of conflicts, negotiations, maneuvers, and swindles between and within a multiplicity of agents, human and nonhuman alike—equally including architects, clients, financiers, and builders, say, but also silicon, plastic, concrete, each with its conflicting aims and different material means to achieve them. Every building is thus the materialization of such encounter. So, despite the hubris of the field, none of the parties to such an encounter can ultimately control that the result—architecture (unlike real estate), according to Miessen, belongs to no one but affects and is affected by everyone—and this proposition asks that we reframe questions of ethics and politics. They can no longer be the property of an individual but a collective set of interrelations—it is through such profound departure from the terms of architecture that Miessen’s new book demands nothing less than to reimagine how we might finally become citizens.”
—Eyal Weizman, Professor of Spatial and Visual Cultures, Director of the Centre for Research Architecture, Goldsmiths, University of London
“Miessen’s new book depicts in a challenging and projective manner the problem of politics in times of conceptual indeterminacy, where ‘participation’ of the civil society seems to become the salvation for the political mess we are in, especially in Europe. Well, it is not! ‘Participation’ will not eradicate the Front National, and more transparency will not deprive Orbán of his power. Civil society will not gain power by criticizing or demonstrating loudly against the European system or chatting on the Internet. The populists have understood that if you want power, you need parties. What we risk to lose in that participatory game is representative democracy in its current shape and for no good: the majority of the street is no democracy. The post-structuralist hype for participation fuels into the mills of those who want to play la volonté de tous against la volonté generale, to go back to Rousseau: yet, the plebs killed Socrates in Athens.“
—Ulrike Guerot, political scientist, founder and director, European Democracy Lab, Berlin
Design by Zak Group
Softcover, 80 pages, 17 x 24 cm
Published by Art Against Art / Berlin
$18.00 - In stock -
When considering the art field as being a raft in speculative time, the tendency is to seek comfort in numbers, regressive ideas such as another return to painting or hedging bets on all sides whilst pursuing an unreasonable personal growth fetish.
These are classic reactions to a perceived risk that arises as a result of readjusting to new data. Uncertainty, if left unmediated, will pose a risk not just to market stability but to conceptual stability as it becomes more and more difficult to differentiate between artists and ads; artworks and hype-objects; or content and sponsored content – keeping us in a state of high drama too complex to decode. For example artists who consciously use marketing strategies as art are contextually mixed up with masses of artists who simply run a marketing strategy. Or, equally, galleries with a reputation for long-term quality regularly use their weight to inflate very short-lived speculative art. It is in these differences that art barters itself off very quickly to sometimes uninteresting effects holding us in a certain inappropriate narrative if we are not careful.
Up until a hundred years ago, it was normal to assume that all art aimed at “beauty” or varying degrees of “representation” and that anything but, would not be considered art. Later, after The Fountain, this evolved into the politics of mass production leading to whatever fallacy that we have today – perhaps a speculative bias targeted at an erroneously projected future consensus. It may be worth considering ditching all retroactive rhetoric about “safe places” in favor of heightening one’s own form of perception (perhaps even through enhancement), to adapt to the new environment and to filter through informational debris.
Inside the art world [...]
Kenny Schachter – Art After the Apocalypse
Linda Yablonsky – Plus Ça Change
A Conversation with Michael Gross – Quid pro Quo – How the sausage gets made at the Met
Joseph Walsh – An Image that is Nothing to be Desired
Image spread by Natasha Vita-More
Paul Mason – Eleven Theses on Postcapitalist Art
Christian J. Haye – More Art
Casey Jane Ellison – 2 Ones Chat and Then End
Armen Avanessian – Present Tension: Notes on Preemption, Hyperstition,
Contemporary Art and the Post-Contemporary Condition
Artist edition by Phillip Zach
$45.00 - Out of stock
#Accelerate: The Accelerationist Reader
Robin Mackay & Armen Avanessian (eds.)
Accelerationism is the name of a contemporary political heresy: the insistence that the only radical political response to capitalism is not to protest, disrupt, critique, or détourne it, but to accelerate and exacerbate its uprooting, alienating, decoding, abstractive tendencies.
The term was coined to designate a certain nihilistic alignment of theory with the excess and abandon of capitalist culture, and the associated performative aesthetic of texts that seek to become immanent to the very process of alienation. Developing at the dawn of contemporary neoliberal consensus, the uneasy status of this impulse, between subversion and acquiescence, between theoretical purchase and aesthetic enjoyment, constitutes the core problematic of accelerationism.
Since the 2013 publication of Williams's and Srnicek's #Accelerate: Manifesto for an Accelerationist Politics, the term has been adopted to name a set of new theoretical enterprises that aim to conceptualise non-capitalist futures outside of traditional marxist critiques and regressive, decelerative or restorative solutions.
#Accelerate presents a genealogy of accelerationism, tracking the impulse through 90s UK darkside cyberculture and the theory-fictions of Nick Land, Sadie Plant, Iain Grant, and anonymous units like CCRU and SWITCH, across the cultural underground of the 80s (rave, acid house, Terminator and Bladerunner) and back to its sources in delirious post-68 ferment, in texts whose searing nihilistic jouissance would later be disavowed by their authors and the marxist and academic establishment alike.
On either side of this largely unexplored central sequence, the book includes texts by Marx that call attention to his own 'Prometheanism' and key works from recent years document the recent extraordinary emergence of new accelerationisms steeled against the onslaughts of neoliberal capitalist realism, and retooled for the twenty-first century.
At the forefront of the energetic contemporary debate around this disputed, problematic term, #ACCELERATE activates a historical conversation about futurality, technology, politics, enjoyment and Kapital. This is a legacy shot through with contradictions, yet urgently galvanized today by the poverty of 'reasonable' contemporary political alternatives.
Karl Marx - Fragment on Machines
Samuel Butler - The Book of The Machines
Nikolai Fyodorov - The Common Task
Thorstein Veblen - The Machine Process and the Natural Decay of the Business Enterprise
Shulamith Firestone - On the Two Modes of Cultural History
Jacques Camatte - Decline of the Capitalist Mode of Production or Decline of Humanity?
Gilles Deleuze + Félix Guattari - The Civilized Capitalist Machine
Jean-François Lyotard - Energumen Capitalism
Gilles Lipovetsky - Power of Repetition
JG Ballard - Fictions of All Kinds
Nick Land - Circuitries
Nick Land + Sadie Plant - Cyberpositive
Iain Hamilton Grant - LA 2019: Demopathy and Xenogenesis
CCRU - Cybernetic Culture
CCRU - Swarmachines
Mark Fisher - Terminator vs Avatar
Nick Srnicek and Alex Williams - #Accelerate: Manifesto for an Accelerationist Politics
Antonio Negri - Reflections on the Manifesto
Tiziana Terranova - Red Stack Attack!
Luciana Parisi - Automated Architecture
Patricia Reed - Seven Prescriptions for Accelerationism
Reza Negarestani - The Labour of the Inhuman (Extended Mix)
Benedict Singleton - Maximum Jailbreak (Extended Mix)
Ray Brassier - Prometheanism and its Critics
Nick Land - Teloplexy: Notes on Acceleration
Diann Bauer - 4xAccelerationisms
Softcover, 408 pages, 17.8 x 26.7 cm
Published by Center for Curatorial Studies Bard College / New York Sternberg Press / Berlin
$40.00 - Out of stock
With a collection of images curated by Jenny Jaskey and Alicia Ritson
Contributions by Armen Avanessian, Elie Ayache, Amanda Beech, Ray Brassier, Mikko Canini, Diana Coole, Christoph Cox, Manuel DeLanda, Diedrich Diederichsen, Tristan Garcia, Iain Hamilton Grant, Elizabeth Grosz, Boris Groys, Graham Harman, Terry Horgan, Jenny Jaskey, Katerina Kolozova, James Ladyman, François Laruelle, Nathan Lee, Suhail Malik, Quentin Meillassoux, Reza Negarestani, John Ó Maoilearca, Trevor Paglen, Luciana Parisi, Matthew Poole, Matjaž Potrč, João Ribas, Matthew Ritchie, Alicia Ritson, Susan Schuppli, Steven Shaviro, Nick Srnicek, Achim Szepanski, Eugene Thacker, McKenzie Wark, Andy Weir
Realism Materialism Art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMAserves as a primer on “speculative realism,” considering its conceptual innovations as spurs to artistic thinking and practice and beyond. Despite their differences, these philosophical positions propose that thought can and does think outside itself, and that reality can be known without its being shaped by and for human comprehension. Today’s realisms and materialisms explicitly challenge many of the dominant assumptions of cultural practice and theoretical inquiry, opening up new domains of research and artistic inquiry.
Cutting across diverse thematic interests and modes of investigation, the thirty-five essays in RMA offer a snapshot of the emerging and rapidly changing set of ideas and practices proposed by contemporary realisms and materialisms. The book demonstrates the broad challenge of realist and materialist approaches to received disciplinary categories and forms of practice, capturing their nascent reworking of art, philosophy, culture, theory, and science, among other fields. As such, RMAexpands beyond the primarily philosophical context in which realism and materialism have developed.
Copublished with the Center for Curatorial Studies, Bard College
Design by Zak Group
Softcover, 296 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
Speculation is clearly the buzzword of the moment; in philosophy, art, the art market, literature, and finance. But what does it mean, exactly, to speculate? Speculation grasps for the nonexistent. As a financial operation, speculation aims to make the future controllable, calculating possible price developments on the basis of empirical data. One of the elementary pacemakers of present-day capitalism, it also plays a pivotal role in generating value in the field of contemporary art. It transforms the character of collections, collectors now aiming at a subsequent resale with profit maximization.
In contrast, theoretical speculation, e.g. in the form of Speculative Realism, is directed toward the fundamentally uncertain. This philosophical movement, which is increasingly present in contemporary art discourse, frequently positions speculation against the programs of critique and aesthetics. The question is whether this leads to an unreflecting leap toward the ‘things themselves’ which in turn requires a critical examination; but also, wherein the opportunities of speculative models lie: Speculation bears the promise of not merely critically addressing what is given, but of catching up with the hypothetical, thinking the potential. In this sense, speculation is a driving force for any creative mode.
In this issue, we ask for theoretical, artistic, and curatorial assessments of the current boom of speculative models. We look at Speculative Realism, the work of its first protagonists and its recent developments, as well as the widely popular curatorial recourses to speculative philosophy, as seen in the exhibition Speculations on Anonymous Materials at Fridericianum, Kassel. Our authors discuss the generation of value in the art system; art’s function in investment portfolios; and the early case of the art speculators “La Peau de l’Ours” in early 20th-century Paris. We also examine the temporal contracts that are implemented by speculative operations. And, with Rainald Goetz and Alexander Kluge, we publish two authors who explore the proximity of speculation and (literary) writing.
Plus a picture spread by DIS and reviews from Berlin, Chicago, Düsseldorf, Irvine, Karlsruhe, London, Los Angeles, New York, and Paris.
Exclusive new artists’ editions by Albert Oehlen and Richard Phillips.
Speculative Realism – A Primer
The Speculative End of the Aesthetic Regime
The Value of Everything
Balanced Investments. On Speculation in the Art Market
How to Sell the Bearskin. An Early Case of Art Speculation
In the Pull of Time
A conversation between Joseph Vogl and Philipp Ekardt
On the Advantages and Disadvantages of Working Speculatively
A survey with statements by Diedrich Diederichsen, Karin Harrasser, Jenny Jaskey, Jutta Koether, and Sam Lewitt
Prosthetic Productions. The Art of Digital Bodies. On “Speculations on Anonymous Materials” at Fridericianum, Kassel
How to Own it
On “Collecting Art for Love, Money and More” by Ethan Wagner and Thea Westreich Wagner
This is Not an Orange
On Lindsay Lawson at Gillmeier Rech, Berlin
Ana Finel Honigman
An Air of Apathy and Awkwardness
On Kaye Donachie at Maureen Paley, London
A Lingering Absence
On Ilse D’Hollander at Konrad Fischer, Düsseldorf
Toward a New Monumentality
On Isa Genzken at MoMA, New York
On Language as Plastic Phenomenona
On Mira Schendel at Tate Modern, London
From Landscape to Lacan
On The Symbolic Landscape: Pictures Beyond the Picturesque at UC Irvine University Art Galleries
Behind the Sequined Curtain
On Pauline Boudry / Renate Lorenz at Badischer Kunstverein, Karlsruhe
Emma Hedditch / Kerstin Stakemeier
Ian White (1971–2013)
First Point, 2014