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.
$43.00 - In stock -
From Decision to Heresy
Edited by Robin Mackay
Translated by Taylor Adkins, Ray Brassier, Christopher Eby and Anthony Paul Smith
The question ‘what is non-philosophy?’ must be replaced by the question about what it can and cannot do. To ask what it can do is already to acknowledge that its capacities are not unlimited. This question is partly Spinozist: no-one knows what a body can do. It is partly Kantian: circumscribe philosophy’s illusory power, the power of reason or the faculties, and do not extend its sufficiency by way of another philosophy. It is also partly Marxist: how much of philosophy can be transformed through practice, how much of it can be withdrawn from its ‘ideological’ use? And finally, it is also partly Wittgensteinian: how can one limit philosophical language through its proper use?
But these apparent philosophical proximities and family resemblances are only valid up to a point. That point is called the real – determination-in-the-last-instance, unilateral duality, etc. – which is to say, all of non-philosophy in-person. In other words, these kinds of comparisons are devoid of meaning, or at best profoundly misleading, because non-philosophy is ‘performative’, its capacities being entirely those of an immanent practice rather than a programme.
This volume provides a collection of English translations of the writings of François Laruelle, one of the most creative and subversive, yet least well-known French philosophers working today.
For the past thirty years Laruelle has been setting out a rigorous theory for philosophy that offers a universal and abstract transcendental organon capable of conceiving the various philosophical accounts indifferent to their doctrines.
Laruelle has invented a totally new conceptual framework that transforms not only philosophical practice but even thought itself: In universalizing the theoretical conditions of philosophical theorising through his unique formal inventions, Laruelle develops a new form of thinking: one that initiates a transcendental and non-decisional theory for philosophical decision in a militant and heretical way.
From Decision to Heresy opens with an introduction based upon an in-depth interview with the author that traces the abiding concerns of his prolific output, from the origins of ‘non-philosophy’ to its evolution into what he now calls ‘non-standard philosophy.' The volume closes with two Appendices: the first contains several of the author’s experimental texts, which have not previously appeared in English translation; the second is a transcript of an early intervention and discussion on Laruelle’s ‘transvaluation’ of Kant’s transcendental method.
François Laruelle, Professor Emeritus at the University of Paris X: Nanterre, is the author of more than twenty books, including Biography of the Ordinary Man, Theory of Strangers, Principles of Non-Philosophy, Future Christ, Struggle and Utopia at the End Times of Philosophy, Anti-Badiou, and Non-Standard Philosophy.
Introduction: Laruelle Undivided
A Rigorous Science of Man
Towards a Science of Philosophical Decision
Revolution within the Limits of Science Alone
The Transcendental Method
The 'Non-Philosophical' Paradigm
What is Non-Philosophy?
Philosophy and Non-Philosophy
Non-Philosophy as Heresy
A Summary of Non-Philosophy
From The First to the Second Non-Philosophy
The Degrowth of Philosophy: Towards a Generic Ecology
Experimental Texts, Fictions, Hyperspeculation
Variations on a Theme by Heidegger
Letter to Deleuze
Universe Black in the Human Foundations of Colour
What the One Sees in the One
Transvaluation of the Transcendental Method
$35.00 - Out of stock
If philosophy has always understood itself and its World according to the model of the photograph, then how can there be a "philosophy of photography" that is not viciously self-reflexive? By thinking the photograph "non-philosophically", Laruelle discovers an essence of photography that precedes its historical, technological and aesthetic conditions. Challenging the customary assumptions made by any "theory of photography" that leaves its own "onto-photo-logical" conditions uninterrogated, and utilizing the concept of a "generalized fractality" to interrogate artistic creation, The Concept of Non-Photography exposes a rigorous new thinking of the photograph in its relation to philosophy, science and art.
Bilingual (English/French) edition. Translation by Robin Mackay.
François Laruelle, Professor Emeritus at the University of Paris West Nanterre La Défence, is the founder of ‘non-philosophy’ and the author of around twenty works, including Une biographie de l’homme ordinaire, Principes de la non-philosophie, Le Christ futur: Une leçon d’hérésie, and Philosophie non-standard.
What is Seen in a Photo?
The Philosopher as Self-Portrait of the Photographer; Towards an Abstract or Non-Figurative Theory of Photography; The Photographic Stance and Vision-force; Universal Photographic Fiction
A Science of Photography
The Continent of Flat Thoughts; A Science of Photography; What Can a Photo Do?; The Identity-Photo; The Spontaneous Philosophy of Photography; The Photographic Mode of Existence; The Being-Photo of the Photo; Photographic Realism; Problems of Method: Art and Art Theory. Invention and Discovery; On the Photo as Visual Algorithm; On Photography as Generalised Fractality; On the Spontaneous Philosophy of Artists and its Theoretical Use; The Photographic Stance and its Technological Conditions of Insertion into the World; Being-in-photo and the Automaticity of Thought: the Essence of Photographic Manifestation; The Power-of-Semblance and the Effect of Resemblance; A Priori Photographic Intuition
A Philosophy of Creation
The Grain of the Walls; Ethic of the American Creator as Fractal Artist; The Fractal Self and its Signature: A New Alchemical Synthesis;The Concept of 'Irregularity-force'; The Fractal Play of the World. Synthesis of Modern and Postmodern; Towards a Non-Philosophical Aesthetics
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
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