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.
$60.00 - In stock -
Edited by Hannes Loichinger, Magnus Schaefer
Texts by Tom Burr, Thomas Eggerer, Manfred Hermes, Hannes Loichinger, Fionn Meade, Magnus Schaefer, Megan Francis Sullivan, Lanka Tattersall, Alexis Vaillant
After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960–1995) moved to New York to attend the Whitney Independent Study Program in 1987. Engaging with current theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently invokes questions of gender and homosexuality, as well as their representation. It interrogates the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent to education, and the distinction between high and popular culture.
Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s.
Published in collaboration with Galerie Neu and
the Estate of Ull Hohn
Design by Studio Manuel Raeder
$42.00 - Out of stock
Contributions by Marie-Luise Angerer, Christoph Behnke, Ana Bogdanović, Larissa Buchholz, Sabeth Buchmann, Kathrin Busch, Bettina von Dziembowski, Daniel Falb, Paul Feigelfeld, Ulrike Gerhardt, Monica Greco, Erich Hörl, Cornelia Kastelan, Stefanie Kleefeld, Valérie Knoll, Roman Kräussl, Susanne Leeb, Hannes Loichinger, Sven Lütticken, Julia Moritz, Volker Pekron, Pierre Pénet, Dieter Roelstraete, Bettina Roggmann, Stefan Römer, Steffen Rudolph, Michael Sanchez, Magnus Schaefer, Stefanie Sembill, Christophe Spaenjers, Paul Stenner, Jeannine Tang, Olav Velthuis, Ulf Wuggenig
Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention.
This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore.
This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.
Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach
Copublished with Leuphana University of Lüneburg
Design and infographics by Sina Hurnik and Kerstin Warncke
Softcover, 256 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
With this issue, Texte zur Kunst takes a closer look at one of the most contested groups of art world protagonists—”The Gallerists”—continuing a series in which we have examined, previously, “The Curators,” “The Collectors,” and the “Artists’ Artists.” As gatekeeper to artistic production on the one hand and market valuation on the other, the art seller, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position. But in recent years, the demands of this profession have changed dramatically—now requiring 24/7 communication, perpetual travel, and a constant presence at fairs. In these pages, we ask if in recalibrating to accommodate these pressures, the gallerist has, in a sense, become something other than what we once took him or her to be?
What, today, can we make of the “good” gallerist carefully establishing a stable of artists, “placing” their work over time in particular institutional and private collections? And how does this position correspond with those of the many new (or at least newly prominent) mediators further altering the field—the advisors and consultants, the “flippers,” and various digitally based aggregators?
Further to this, we ask if this restructuring is affecting (or indeed is an effect of) the ways in which artists now work. And if a market taking place independently of gallerists is indeed increasing, how then does this affect the established mechanisms of validation and canonization?
Also in this issue: an image spread by Dan Mitchell as well as reviews from Berlin, Bregenz, Heidelberg, London, Madrid, Mexico City, New York, Salvador, and St. Petersburg.
“Artrank and the Flippers: Apocalypse Now?”
“New York Recall”
Friedrich Petzel on his gallery / Richard Kern on Feature Inc.
“The Gallerist’s Hat”
On John Knight’s “JK, a work in situ, Art Basel” and the structural transformation of the art world
“Out of Düsseldorf”
“G-Force: Gallerists and the Expanded Market”
A roundtable conversation with Simon Denny, Nicole Hackert, Lisa Schiff, Niklas Svennung, moderated by Caroline Busta and Hanna Magauer
“Tips for a Gallerist I”
On galleries as commercial enterprises
“Tips for a Gallerist II”
The passion of the industry
On Johanna Burton and Anne Ellegood’s “Take It Or Leave It: Institution, Image, Ideology”
“Toward Criticism as an Anecdotal Science”
On “Pictures, Before and After: An Exhibition for Douglas Crimp” at Galerie Buchholz, Berlin
“All 47 Likes Are Mine”
On Richard Prince at Gagosian Gallery, New York
On Hanne Darboven at Museo Nacional Centro de Arte Reina Sofía, Madrid
“Heart and Soul”
On Colourbox at Between Bridges, Berlin
“Real Capital Seduction”
On KP Brehmer at Raven Row, London
On Valentina Liernur at Campoli Presti, London
Ana Teixeira Pinto
“Lines of Territory”
On Mariana Castillo Deball at Kurimanzutto, Mexico City
Ferris Bueller’s Day Off, 2014
$39.00 - Out of stock
This book by British artist Tris Vonna-Michell marks a continuation and implementation of his artistic practice through the medium of an artist's book. Vonna-Michell is a memory traveler who runs through the past and present. In his works, images, sound, light, and the most ordinary objects become the material of a totally individual experience where reality and fiction merge, and journey, memories, and invention coexist.
The stories and the visual material assembled in this book originated and began their evolution in 2003. Since 2008, they have been gradually modified and further expanded in a series of projects at, among others, Kunsthalle Zürich, GAMeC—Galleria d'Arte Moderna e Contemporanea di Bergamo, Halle für Kunst Lüneburg e.V., and the Fondazione Galleria Civica—Centro di Ricerca sulla Contemporaneità di Trento. Taking these projects as a starting point, Tris Vonna-Michell conceived this book as a further elaboration of his artistic practice, interweaving multiple narrative threads. Behind an identical cover, the seemingly "same" is presented in variations that were developed through performative improvisations over the first version of the text, initial the placing of the images and positioning of the inserts. The book is not a fixed entity but a narrative construction developed in space and time, conceived as an in-progress tale and evolving in variations over a period of time.
Published with Fondazione Galleria Civica—Centro di Ricerca sulla Contemporaneità di Trento, GAMeC—Galleria d'Arte Moderna e Contemporanea di Bergamo, Halle für Kunst Lüneburg e.V., and Kunsthalle Zürich.
Softcover, 80 pages (18 b/w ill.), 21.5 x 28 cm
Published by Sternberg Press / Berlin
$25.00 - In stock -
With contributions by Andrea Fraser, Manfred Hermes, Karl Holmqvist and Tobias Kaspar, Isla Leaver-Yap, Jackie McAllister, James Meyer and Christian Philipp Müller, Magnus Schäfer, Axel John Wieder, Phillip Zach; a conversation between Colin de Land, Josef Strau, and Stephan Dillemuth; and an introduction by Hannes Loichinger and Magnus Schäfer
The New York gallery American Fine Arts, Co.—whose name today is largely synonymous with that of its gallerist, Colin de Land (1955–2003)—represents a gallery practice in which a decided deviation from conventional models overlaps with successful activities within the framework of the art market. Today, American Fine Arts, Co. and de Land figure as uncontested projection screens for the desire for independence from or bohemian resistance against the dictate of the market. Particularly in retrospect, a consistent image of the gallery is not discernible. Faced with the obvious risk of romanticization, it appears all the more important to pursue an understanding of how American Fine Arts, Co. functioned as a gallery.
This book was published on the occasion of the exhibition “Dealing with—Some Books, Visuals, and Works Related to American Fine Arts, Co.” at Halle für Kunst Lüneburg and Kunstraum of Leuphana University of Lüneburg (May 28–July 7, 2011), which was developed by Valérie Knoll, Hannes Loichinger, Julia Moritz, and Magnus Schäfer.
Design by HIT
Spring/Summer 2009, English
Softcover magazine, 96 pages, 31 x 23 cm
Published by Provence / Nice
$18.00 - Out of stock
Provence is one of our favourite publications.
"An Eight Issue Magazine Dedicated to Hobbies", edited by Daiga Grantina, Tobias Kaspar, and Hannes Loichinger. From Nice, France.
Issue P : FOOD, Ben Kinmont, Merlin Carpenter, business cards, Edgars Gluhovs, Folkways Records, Kaspar Müller, Living as Exhibition, "How to Cook a Wolf", painted leaves, Cerith Wyn Evans, Free Class Frankfurt, Richard Prince, American Gigolo 1980, Hinrich Sachs, I Can't Feel My Face, scans, re-prints, etc.
Summer 2010, English
Softcover magazine, 96 pages, 23 x 31 cm
Published by Provence / Nice
$18.00 - In stock -
"An Eight Issue Magazine Dedicated to Hobbies"
Issue O :Published in conjunction with an exhibition at Halle für Kunst Lüneburg eV, Lüneburg, Germany in April/June, 2010, and edited by Daiga Grantina, Tobias Kaspar and Hannes Loichinger.
Features: Special "The Screens / The Islands" dust-jacket by Gerry Bibby, Nick Mauss & Ken Okiishi (via Victor Hugo and Halston), Velours et guipure, Mallarmé et La Dernière Mode, Fumi Yosano, Artful Lodgers, Fia Backström, The Artists and the Dealer. The Roles of Gustave Caillebotte, Mary Cassat and Paul Durand-Ruel in 19th Century Revolutionary Art by Ulf Wuggenig, Jay Chung and Q Takeki Maeda examine Flaubert’s Bouvard and Pécuchet , Edgars Gluhovs, Ei Arakawa asks Malik Gaines and learns about W.E.B. Du Bois, the American civil rights activist, and the ﬁrst African American Ph.D. recipient from Harvard University in 1895, Les Journalistes by Chantal Georgel, more, etc.