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
THURS 11-5 PM
FRI 11-7 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, 730 pages, 15 x 22 cm
Published by Karlsruhe University of Art and Design and the Geneva School of Art and Design / Genève Sternberg Press / Berlin
$47.00 - In stock -
Markus Miessen, Yann Chateigné (Eds.)
Contributions by Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Alexander Kluge, Joachim Koester, Armin Linke, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman, et al.
What are the processes that enable archives to become productive? Conventional archives tend to be defined through the content-specific accumulation of material, which conforms to an existing order or narrative. They rarely transform their structure. In contrast to this model of archival practice and preservation, the conflictual archive has an open framework in which it actively transforms itself, allowing for the creation of new and surprising relationships. Illustrating how spaces of knowledge can be devised, developed, and designed, this archive reveals itself as a space in which documents and testimonies open up a stage for productive dispute and struggle.
Exploring nontraditional archives, such as those of Harald Szeemann, Hans Ulrich Obrist, Sitterwerk, and the publishing house Merve, The Archive as a Productive Space of Conflict offers new perspectives on archival practice, interrogating whether archives need spatial permanence, and, if so, which design framework should be applied for the archive to take on more than a singular form of existence. The research project is a collaboration between the Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève).
Copublished with Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève)
Design by Jonas Fechner and Lisa Naujack
$25.00 - In stock -
Issue number nine tackles all manner of sports and games, providing commentary on their language, politics, and philosophies. It kicks off with Rob Giampietro on New England Patriots controversial quarterback Tom Brady in view of ancient Greek ideas of heroism, and ends with David Peace narrating seminal Liverpool FC manager Bill Shankly’s 1975 radio interview with UK Prime Minister Harold Wilson. Uncovering a fascination for what is still considered the most difficult game of cards, Vincenzo Latronico takes us through the complexities of bridge. Kathy Acker identifies the bodybuilder’s language as the simplest of language games, reduced to a minimal set of nouns and numerical repetition. Joe Scanlan presents “three object lessons” on advanced imaging technologies related to movement, while James Langdon follows the debates on the innovations to rock climbing. The issue slaloms through further contributions from Christoph Keller, Sarah Demeuse, Linus Elmes, Chris Evans, Junior Aspirin Records, Philip Ording, Leila Peacock, Justin Warsh & Miguel Abreu, and Carlin Wing.
2012, English / German
Softcover, 376 pages (1200 color / 20 b/w), 210 x 297 mm
Published by JRP Ringier / Zürich
$59.00 - In stock -
"Das Institut" presents a lavishly illustrated review of the productions, exhibitions, and collaborations in which it has been involved over the past three years in the style of a business report. "Das Institut" was founded in New York in 2007 by Kerstin Brätsch (1979) and Adele Röder (1980) as a notional free space in which they both gave themselves the opportunity of working independently from the concept of their own oeuvres, for their promotion and reproduction.
Taking an ironic approach to themselves, and using great verbal wit, they have tackled the strategies of (self-)marketing head on. The fast-tempo artistic ping-pong game between the two agency proprietors Brätsch and Röder can be followed in detail in this artist's book. Each smuggles her works into the agency as models for further processing by the other. Sources of inspiration, costs, sales revenue, and exhibition techniques are frankly disclosed. What at first looks like a strong overstatement that treads on a fine line between art, knitwear, role play, and marketing is at the same time a trenchant observation of the art scene, and a plea for artistic experiment and the potential of painting.
"Das Institut" participated in the group show "Non-solo show, Non-group show" at Kunsthalle Zürich (2009) and recently in the 54th Venice Biennial (2011). The book is published on the occasion of its solo exhibitions at the Parc Saint Léger, Pougues-les-Eaux (2010); the Kölnischer Kunstverein (Spring 2011); and the Kunsthalle Zürich (Autumn 2011).
The publication is part of the series of artists' projects edited by Christoph Keller.