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.
$98.00 - In stock -
This catalogue is the first comprehensive publication on Price’s varied oeuvre. It offers an unflinching portrait of contemporary, mediated Western life. The exhibition at Stedelijk Museum is the first survey of the American artist’s work.
A key theme in Price’s work is the self under technological pressure. This is often expressed in terms of the ‘skins’ of surface, packaging, and wrapping: a photographic study of a person’s skin obtained through the technologies Google employs for mapping; a vacuum-formed plastic relief presenting a body part stranded in plastic; a large wall sculpture depicting the negative space between two people engaged in intimate action, greatly enlarged from a tiny internet jpeg.
‘Seth Price is a key figure in addressing technology and artistic authorship. His work traces an important art historical shift from the concept of collage, where chance played a major role and the image was constructed of multiple layers, to the concept of a unified image, which envelops us in an endless, undifferentiated, digital stream.’ – Beatrix Ruf, Director of Stedelijk Museum
Published on the occasion of the exhibition Seth Price: Social Synthetic, at Stedelijk Museum, Amsterdam (15 April – 3 September 2017), and at Museum Brandhorst, Munich (12 October 2017 – 18 March 2018).
Texts by: Cory Arcangel, Ed Halter, Achim Hochdörfer, Branden W Joseph, John Kelsey, Michelle Kuo, Rachel Kushner, Laura Owens, Ariana Reines, Beatrix Ruf.
$65.00 - In stock -
Edited by Katherine Pickard, Tim Saltarelli
Contributions by John Kelsey, David Lewis, Jaleh Mansoor, Javier Sánchez Martínez, Laura Owens, Sean Paul
Blake Rayne’s approach to painting stems from the duplicity of words like script, folder, application, dissolve, and screen. These operative terms situate his work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms painter and painting as fictions with no stable material definition. Rather, they are shaped by always-evolving social, institutional, and physical relations.
Published in conjunction with Rayne’s first survey exhibition “Cabin of the Accused” (Blaffer Art Museum, Houston, October 22, 2016–March 18, 2017), Tense and Spaced Out spans Rayne’s work over the last decade, featuring long-form essays by Sean Paul, Jaleh Mansoor, Javier Sánchez Martínez, and John Kelsey, and shorter statements by Laura Owens and David Lewis. Not confined to the role of mere catalogue, however, the publication also includes documentation of the exhibition by a group of local high-school students and a magazine dedicated to Rayne’s 2013 book-object Almanac.
Copublished with Sequence Press and Blaffer Art Museum
Design by Geoff Kaplan
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - In stock -
ISSUE NO. 105 / MARCH 2017 “THEY ARE US / WIR SIND IHR”
With Issue #105, TZK considers the nationalist, conservative, and racist ideologies that have recently become more visible across Europe and the US, giving particular focus to questions of border politics and migration -- of humans, of data, of patrimony, of signs. Advised by Helmut Draxler, Isabelle Graw, and Susanne Leeb, this issue was conceived prior to the US presidential election as a cooler reflection on present political debates. And yet having been produced amid the chaos of the Trump administration's first weeks, it also necessarily stands as a reflection of political-aesthetic thinking during markedly volatile times: Wir sind Ihr? They are us? We are them?
TABLE OF CONTENTS:
BUT WHO IS “THEY”? / Roundtable discussion with Manuela Bojadžijev, Nikita Dhawan, and Christoph Menke, moderated by Helmut Draxler on Refugee and Migrant Flows as a Challenge for Political Thought
OVERCOMING MUTE RELATIONS, OR, THINKING WITH YOUR FEET / Angela Melitopoulos in conversation with Susanne Leeb
HALFTIME VIBES / John Kelsey on Meditations in an Emergency
WEDER WOHNUNG NOCH WÄHRUNG / Diedrich Diederichsen über den Intendantenwechsel an der Berliner Volksbühne
BEGEHREN IN BETON / Benjamin Meyer-Krahmer über die Feuerle -Collection
LIEBE ARBEIT KINO
OF DREAMS, LIES, AND WIRES / Tom McDonough on Adam Curtis’s “HyperNormalisation”
MEDIALER GESTUS / Rainer Bellenbaum über Douglas Gordons Film „I Had Nowhere to Go“
EU DESESPERO E ABRAÇO A TUA AUSÊNCIA: “AQUARIUS” OR CINEMA AFTER NEO-FASCISM / Daniel R. Quiles on Kleber Mendonça Filho’s “Aquarius”
FAST UNANGENEHM DEUTLICH / Anke Dyes und Anna Voswinckel über Jill Soloways Fernsehserie „I love Dick“
MACH ES NICHT SELBST / Daniel Loick über „Staying with the Trouble. Making Kin in the Chthulucene“ von Donna Haraway
(POST-)EMPIRE STATE OF MIND / Emily Segal on Cat Marnell’s “How to Murder Your Life”
RELEVANTE UPDATES / Christian Egger über Raymond Pettibon im Museum der Moderne Salzburg
Micaela Durand on Heji Shin at Real Fine Arts, New York / Arne Schmitt über Candida Höfer im Neuen Berliner Kunstverein / Hans-Jürgen Hafner über Peter Duka bei Zwinger Galerie / Ana Finel Honigman on Dan Attoe at Peres Projects, Berlin / Tina Schulz über Willem Oorebeek im Magazin 4 in Bregenz
ZUCKER UND SHAME / Ulrike Bergermann über „Deutscher Kolonialismus“ im Deutschen Historischen Museum, Berlin
MODELS AND AGENCIES / Ben Caton on “The Ulm Model” at Raven Row, London
ART HISTORY, REMASTERED / Abbe Schriber on Kerry James Marshall at the Met Breuer, New York
AESTHETICIZED PLAY / Stefaan Vervoort on Ludger Gerdes at the Museum Haus Lange, Krefeld, Germany
NACHRUFE / OBITUARIES
BARBARA WEISS (1960–2016)
by Monika Baer and John Miller
by Andreas Siekmann
JOHN BERGER (1926–2017)
by Tom Holert
by Svetlana Alpers
Softcover, 500 pages, 21.5 x 15.7 cm
1st Edition, Out of print title / used*,
Published by Purple Institute / Paris
$120.00 - Out of stock
Purple 6 Winter '00 '01
fashion, prose, special fiction, interior
A rare early issue of the iconic Purple magazine, edited by Elein Fleiss and Olivier Zahm, this wonderful early edition features work by: Richard Prince, Susan Cianciolo, Bless, Cris Moor, Lutz, Maison Martin Margiela, Hermés, Giasco Bertoli, Junya Watanabe, Comme des Garçons, Lars Botten, Bernhard Willhelm, Hussein Chalayan, Camille Vivier, Cosmic Wonder, Fendi, Terry Richardson, Anders Edstrom, Balenciaga, Vanina Sorrenti, Helmut Lang, Banu Cennetoglu, Veronique Branquinho, Chikashi Suzuki, Marc Jacobs, Ann-Sofie Back, Lodge Kerrigan, Mark Borthwick, Olivier Zahm, Jeff Rian, Bernard Joisten, Bruce Benderson, Andy Stillpass, Bennett Simspon, Dominique Gonzalez-Foerster, Pete Taylor, Jason Simon, Pablo Leon De La Barra, Panu Aree, Tim Griffin, Dayton Taylor, Dike Blair, Gareth James, Michael Drake, Antek Walczak, Guillaume Nez, Tom Betterton, John Kelsey, Cheryl Donegan, Mark Fishman, Ole Scheeren, Sarah Gavlak, Alix Lambert, Tan Lin, Sharon Mesmer, Sharon Mesmer, Peter Josephs, Benjamin Weismann, Jordan Davis, Fred El Bekkay, Michael Danner, Giasco Bertoli, Andreas Larsson, James Gooding, Alex Antitch, Elein Fleiss, Henry Roy, Rami Maymon, Torbjorn Rodland, Marcello Simeoni, Delphine Roque, Michael Danner, Stefan Ruiz, and many many more.
In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine and Purple. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple.
2016, English / German
Softcover, 352 pages, 20 x 12.8 cm
Published by Walther König / Köln
$40.00 - In stock -
The first comprehensive analysis of Loretta Fahrenholz’s filmic work.
Seven of the artist’s films (2010–2016) are portrayed in synopses through separate series’ of images.
John Kelsey and Caroline Busta analyze the artist’s experimental films, which defy the distinction between fiction and documentary and propose new forms for a post-cinematic present.
Produced in cooperation with the Kunsthalle Zürich on the occasion of Fahrenholz’s solo exhibition at the Fridericianum, Kassel, Germany (25 September 2016 – 1 January 2017).
English and German text.
Hardcover, 400 pages, 20.5 x 24 cm
Published by Prestel / Munich
$100.00 - Out of stock
Heavy, definitive volume on the history of work by Peter Fischli and David Weiss, with texts and contributions by Ann Goldstein, Isabelle Graw, Anne Wheeler, and John Kelsey.
Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists' long history of collaboration, from the early Sausage Series (1979)-staged vignettes created in miniature using deli meats and various household items-to their last work, the large-scale public installation Rock on Top of Another Rock (2010-13), augmented by archival images, notes on process and interview excerpts culled from the artists' Zurich-based archives.A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss's vital contribution to contemporary art.
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by Prestel / Munich
$130.00 - In stock -
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, GuytonWalker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
ISSUE NO. 100
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
MORE MANNERISM / Ruth May and Jan Molzberger
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
POST-INTERNET: THE NEW ORDER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
PAMELA M. LEE
TOWARD A CANONIC FREEDOM
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
GREAT & SMALL
CANON OF EXISTENCE, ETHICS OF THE BREAK
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015) by Tim Griffin
PETER FISCHLI/DAVID WEISS
Softcover, 128 pages, 21 x 29 cm
Published by The Renaissance Society / Chicago
$55.00 - In stock -
Published on the occasion of Nora Schultz's exhibition Parrottree-Building for Bigger than Real, January 12 – February 23, 2014. It was Schultz's first solo museum show in the US and the first show curated at the Renaissance Society by new Chief Curator and Executive Director, Solveig Øvstebø.
Nora Schultz: Parrottree is a unique and ambitious hybrid between exhibition catalog and artist’s book. Along with photo documentation of the Renaissance Society installation and an essay by the curator Solveig Øvstebø, the publication also includes The Parrot Magazine by Nora Schultz, a 64-page magazine "made by parrots for parrots and for all birds that need to integrate into human society under aggravated circumstances." Additionally, experimental writing pieces by Keren Cytter and Seth Price, and a visual art project by John Kelsey were all commissioned specifically for this book.
Softcover, 128 pages, 11 x 18 cm
Published by Sternberg Press / Berlin
$23.00 - Out of stock
Edited by John Kelsey and Jakob Schillinger
Passivity and contemplation characterize the narrators of Peter Wächtler’s stories. Some speak from the vantage point of death, musing about their lives, recalling formative experiences and decisive moments. Those still alive seem paralyzed—functioning or malfunctioning within their world, but unable to act upon it. At a moment when narrating experiences seems more important than having them, and when such narrating takes on increasingly standardized forms, Wächtler’s writing foregrounds different narrative techniques and traditions as means of rationalizing one’s place in the world, of grappling with and giving meaning to one’s existence. Unlike the various fatalist and voluntarist doctrines which these stories mime, the social totality here creeps into the picture. Fate turns into slapstick and only as such conveys the horror of life in an administered world. Hollowed-out phrases from the repertoire of communication agencies and shallow love songs are made to speak beautifully of a world that is not—and critical theory proves as potent a means for territorial fights as fists or a kryptonite bicycle lock.
Come On is a MINI/Goethe-Institut Curatorial Residencies Ludlow 38 publication in collaboration with Reena Spaulings Fine Art. It compiles ten texts by Peter Wächtler written between 2011 and 2013.
Design by Boy Vereecken and Antoine Begon
Softcover (newspaper), 37 x 26 cm
Published by Mousse Publishing / Milan
$18.00 - In stock -
Mousse #41, December 2013:TALKING ABOUT - What do you need me for? by Vivian Sky Rehberg; ALAN MOORE - A for Alan Moore by Hans Ulrich Obrist; TALKING ABOUT - Pots on Video by Nick Currie; ON PURPOSE AND URGENCY - Introduction by Joao Ribas; ON PURPOSE AND URGENCY - I will revisit my lost loves, and playmates masterless! by Chus Martínez; ON PURPOSE AND URGENCY - Digital Landfills by Cory Arcangel; ON PURPOSE AND URGENCY - Found Wanting by Angie Keefer; ON PURPOSE AND URGENCY - The Writing of Banality by Akram Zaatari; ON PURPOSE AND URGENCY - Transformative Energies by Defne Ayas; ON PURPOSE AND URGENCY - Compatability Mode by Seth Price; ON PURPOSE AND URGENCY - An Actual Subversion by David Levine; ON PURPOSE AND URGENCY- Too Big to Fail by Adam Kleinman; ON PURPOSE AND URGENCY - Law as Art by Carey Young; TALKING ABOUT - Mass Effect by Lauren Cornell & Ed Halter; STEVE MCQUEEN - Shackled Past by Jens Hoffmann; CHARLES RAY - A Sculptural Differential by Zachary Cahill; LUKE WILLIS THOMPSON - Out of the Gallery by Sophie von Olfers; TABOR ROBAK - I Love Screens by Cecilia Alemani; GCC - Gulf Committee Complex by Kevin McGarry; CALEB CONSIDINE -Mute Paintings by Alex Kitnick; THOMAS EGGERER - A Fragile Artificiality by John Kelsey; NEW YORK - KEVIN BEASLEY - Shaking the Museum by Jenny Schlenzka; LONDON - CHRISTINA MACKIE - A Constant Drift by Rhea Dall; LOS ANGELES - JON PESTONI Jon Pestoni: With Flying Colors by Andrew Berardini; TALKING ABOUT - The Blurring of You and Me by Jennifer Allen; HOBBYPOPMUSEUM Gesamtkunstspiel by Catherine Wood; DENA YAGO - Life on Heat Island by Isla Leaver-Yap, and much more...