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.
Hardcover (w. dust jacket), 528 pages, 17.8 x 22.9 cm
Published by The MIT Press / Massachusetts
$80.00 - Out of stock
What has planetary-scale computation done to our geopolitical realities? It takes different forms at different scales—from energy and mineral sourcing and subterranean cloud infrastructure to urban software and massive universal addressing systems; from interfaces drawn by the augmentation of the hand and eye to users identified by self—quantification and the arrival of legions of sensors, algorithms, and robots. Together, how do these distort and deform modern political geographies and produce new territories in their own image?
In The Stack, Benjamin Bratton proposes that these different genres of computation—smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation—can be seen not as so many species evolving on their own, but as forming a coherent whole: an accidental megastructure called The Stack that is both a computational apparatus and a new governing architecture. We are inside The Stack and it is inside of us.
In an account that is both theoretical and technical, drawing on political philosophy, architectural theory, and software studies, Bratton explores six layers of The Stack: Earth, Cloud, City, Address, Interface, User. Each is mapped on its own terms and understood as a component within the larger whole built from hard and soft systems intermingling—not only computational forms but also social, human, and physical forces. This model, informed by the logic of the multilayered structure of protocol “stacks,” in which network technologies operate within a modular and vertical order, offers a comprehensive image of our emerging infrastructure and a platform for its ongoing reinvention.
The Stack is an interdisciplinary design brief for a new geopolitics that works with and for planetary-scale computation. Interweaving the continental, urban, and perceptual scales, it shows how we can better build, dwell within, communicate with, and govern our worlds.
About the Author
Benjamin H. Bratton is a theorist whose work spans philosophy, computer science, and design. He is Associate Professor of Visual Arts and Director of the Center for Design and Geopolitics at the University of California, San Diego. He is also Visiting Professor of Critical Studies at SCI-Arc (the Southern California Institute of Architecture) and Professor of Digital Design at the European Graduate School in Saas-Fee, Switzerland.
“In The Stack, Benjamin Bratton shows, with brilliant insight and imagination, what the world is coming to look like in an era of planetary-scale computing. He cuts through many received ideas about technology, globalization, and so forth and presents a fresh vision of the architecture of the world.”
—McKenzie Wark, author of Molecular Red: Theory for the Anthropocene
“Endlessly thought-provoking, this amazing book is both cognitive mapping and a projective geometry of the new dimensions of technological reality we live in.”
—Kim Stanley Robinson, author of 2312
“The Stack is a major achievement. It is more than just philosophy of technology, software studies, or design criticism; it analyzes and guides our thinking in a baffling Anthropocenic era when computation works at the planetary scale and constitutes governance.”
—Natalie Jeremijenko, Associate Professor of Art, Computer Science, and Environmental Studies, New York University
“The Stack imagines a design brief for the whole world while floating or falling through all the ever-efflorescent plasmas and atmospheres of digital information.”
—Keller Easterling, Professor, Yale School of Architecture; author of Extrastatecraft: The Power of Infrastructure Space
“This political geography of computation is a strange, marvelous text of great conceptual beauty. Benjamin Bratton’s The Stack breaks more new ground than a carpet bombing. The Stack itself may or may not exist, but it’s left everything that came before it in a state of rubble.”
Softcover, 196 pages, 10.8 x 17.8 cm
Published by Sternberg Press / Berlin
$20.00 - In stock -
With a foreword by Keller Easterling
Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.
Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.
The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery.
In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler.
Design by Jeff Ramsey
Hardcover (cloth-bound), 272 pages, 17.5 x 24 cm
Published by Sternberg Press / Berlin
$50.00 - Out of stock
Texts by Iain Ball, Erick Beltrán, Jane Bennett, Benjamin H. Bratton, Revital Cohen & Tuur Van Balen, Erik Davis, John Durham Peters & Paul Feigelfeld, Mircea Eliade, Boris Groys, Marguerite Humeau, Timothy Morton & Emilija Skarnulyte, Boris Ondreička, The Otolith Group, Jussi Parikka, Matteo Pasquinelli, Nadim Samman, Charles Stankievech
Rare Earth is an attempt to define the spirit of an age. Exploring how today’s myths, identities, and cosmologies relate to current advances in technology—through reference to the material basis to our most developed weapons and tools; a class of seventeen rare earth elements from the periodic table—Rare Earth challenges the rhetoric of immateriality associated with our hypermodern condition.
Rare earth elements are the game-changing foundation of our most powerful innovations, are fundamental to contemporary accoutrements such as mobile phones, iPods and iPads, liquid crystal displays, LEDs, light bulbs, CDs and DVDs. Often described as conflict materials due to the limited number of easily accessible mines, they are also integral to weapon systems used for cyber-warfare, medical technologies (including MRI scanning equipment), hybrid vehicles, wind turbines, and other green energy applications. Consequently, rare earth elements play an increasing role in global affairs and power inventions that facilitate our changing self-image—giving birth to today’s emergent myths and identities.
Rare Earth grounds our strange, seemingly weightless cultural moment. While we may design our technologies, these tools and weapons shape us in turn. It may seem that we dream the contemporary into existence, but perhaps rare earth elements are dreaming through us. After the Stone Age, the Bronze Age and the Iron Age, this is the age of Rare Earth.
Copublished with Thyssen-Bornemisza Art Contemporary, Vienna on the occasion of the exhibition “Rare Earth,” February 19–May 31, 2015, with works by Iain Ball, Erick Beltrán, Julian Charriere, Revital Cohen & Tuur Van Balen, Camille Henrot, Roger Hiorns, Marguerite Humeau, Jean Katambayi Mukendi, Oliver Laric, Ursula Mayer, The Otolith Group, Katie Paterson, Charles Stankievech, Suzanne Treister, Ai Weiwei, Guan Xiao, Arseniy Zhilyaev
Design by David Rudnick and Raf Rennie
Softcover, 316 pages (27 b/w ill.),10.8 x 17.8 cm
Published by Sternberg Press / Berlin
$22.00 - In stock -
Edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
Contributions by Julian Assange, Franco “Bifo” Berardi, Benjamin Bratton, Diedrich Diederichsen, Keller Easterling, Rasmus Fleischer, Joana Hadjithomas and Khalil Joreige, Ursula K. Heise, Brian Kuan Wood, Bruno Latour, Geert Lovink, Patricia MacCormack, Metahaven, Gean Moreno, Hans Ulrich Obrist, Jon Rich, Hito Steyerl
The internet does not exist. Maybe it did exist only a short time ago, but now it only remains as a blur, a cloud, a friend, a deadline, a redirect, or a 404. If it ever existed, we couldn't see it. Because it has no shape. It has no face, just this name that describes everything and nothing at the same time. Yet we are still trying to climb onboard, to get inside, to be part of the network, to get in on the language game, to show up on searches, to appear to exist. But we will never get inside of something that isn’t there. All this time we’ve been bemoaning the death of any critical outside position, we should have taken a good look at information networks. Just try to get in. You can’t. Networks are all edges, as Bruno Latour points out. We thought there were windows but actually they’re mirrors. And in the meantime we are being faced with more and more—not just information, but the world itself.
Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
Design by Jeff Ramsey, front cover design by Liam Gillick