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.
2016, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - Out of stock
TZK #103 addresses "poetry," a language form central to the recent shift toward affect in contemporary critical writing. Seeing the “artist-poet” as a vital site for the intersection of politics, affect, and digitality, we consider her voice and her currency from various perspectives, pro and con, across generations, analyzing her rising success, also asking what is gained and lost in this move from "rational" thought to what one feels? Scanning populist poetry, anarchist poetry, post-millennial net-poetry, the poetry of surplus-language and social media, the art historical poetic/poet-turned-object, and shades of fading Poesie, this issue, conceived by the editors with John Kelsey and Isabelle Graw explores how the seeming immediacy of #poetry and the suggestion of a hyper-personal voice correlates with current economic demand to claim visibility.
ISSUE NO. 103 / SEPTEMBER 2016 “POETRY”
TABLE OF CONTENTS
WHAT IS POETRY?
OBJECTIVELY SPEAKING / Remarks on Subjectivity and Poetry
THE POET'S SEDUCTION / Six Theses on Marcel Broodthaers’s Contemporary Relevance
WORD PIECES, EVENT SCORES, COMPOSITIONS
THE PROMISE OF POETIC LANGUAGE
IF YOU DON’T LIKE THE REFLECTION. DON’T LOOK IN THE MIRROR. I DON’T CARE.
CHRIS KRAUS AND ARIANA REINES
THE FEELINGS I FAIL TO CAPITALIZE, I FAIL / Chris Kraus and Ariana Reines in conversation on auto-fiction and biography
THE IRREPROACHABLE ESSAY / On the Amazon Discourse of Hybrid Literature
IMMEDIACY, I MEET WITH SKEPTICISM / Three questions for Daniela Seel
HEARING VOICES / On the reading and performance of poetry
FOUR THESES ON BRANDING / David Joselit on Berlin Biennale 9
MANTRAS DER GEGENWART / Hanna Magauer über die Berlin Biennale 9
SEHNSUCHT NACH DER VERLORENEN STADT / Johannes Paul Raether über "spiritus" von Honey-Suckle Company
BENJAMIN BUCHLOH, ART HISTORIAN / Christine Mehring on Benjamin H. D. Buchloh’s “Formalism and Historicity: Models and Methods in Twentieth-Century Art”
ES WAR ZWEIMAL SAGTE SIE / Vojin Sasa Vukadinovic über Eva Meyers „Legende sein“
LESS IS MORE? / John Miller on Justin Lieberman’s “The Corrector’s Custom Pre-Fab House”
SO MACHEN WIR'S / Eva Geulen über „The Use of Bodies“ (Homo Sacer IV.2) von Giorgio Agamben
Gunter Reski über Victor Man bei MD 72, Berlin / Harry Burke on Dean Blunt at Arcadia Missa, London / Rhea Dall on Stephen G. Rhodes at Eden Eden, Berlin / Tobias Vogt über Thea Djordjadze bei Sprüth Magers, Berlin / Deanna Havas on Marc Kokopeli at Lomex, New York / Martin Herbert on Fredrik Værslev at Bergen Kunsthall, Norway
HABEAS CORPUS / Simon Baier über Francis Picabia im Kunsthaus Zürich
MARCEL BROODTHAERS, ART HISTORIAN’S ARTIST / Trevor Stark on Marcel Broodthaers at the Museum of Modern Art, New York
MALEREI ALS SOZIALES HANDELN? / Christian Spies über Fernand Léger im Museum Ludwig, Köln
SIMULIERTE MUSEALISIERUNG / Philipp Kleinmichel über Isa Genzken im Martin-Gropius-Bau, Berlin
ELEGANCE IS RESISTANCE / Stephanie LaCava on Lukas Duwenhögger at Artists Space, New York
NACHRUFE / OBITUARIES
TONY CONRAD (1940–2016)
by Diedrich Diederichsen
by Jay Sanders