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.
Softcover, 152 pages, 16 x 24 cm
Published by Mousse / Milan
$54.00 - In stock -
Cash for Gold is the most comprehensive monograph on the work of Nina Beier, copublished with the Kunstverein in Hamburg, in conjunction with Kunsthaus Glarus. Nina Beier’s art presents a particular challenge to critics, Alexander Scrimgeour outlines in the introduction to this catalogue— indeed, an anthology of eight different essays: a textual bounty that proved necessary. The conventional functions of the art writer: interpretation, judgement, critique, contextualisation, etc., stand in an uneasy relationship, not to say opposition, to the explorations of openness, assignations of value, and unspoken cultural codes in her work. The development of this catalogue, and the fact that it does not coalesce into a single, authoritative voice, can perhaps best be seen as a reflection of the work itself, and what makes or lets it carry meaning for different people in different ways. For all the specificity of its materials and forms, it draws its energy from the emotional valence of culturally embedded desires, pressures, norms and glitches within what Rosalind Krauss called, after Fredric Jameson, “the total saturation of cultural space by the image.” The sprawl and partiality of this catalogue is itself a mirror of a crisis of representation that is itself the ground occupied by the images, confused objects, and art-historical references in Beier’s work to date.
Bettina Steinbrügge, Alexander Scrimgeour, eds.
Texts by Karen Archey, Laura McLean-Ferris, John Miller, Post Brothers, Dieter Roelstraete, Chris Sharp, Bettina Steinbrügge, Alexander Scrimgeour, Ana Texeira Pinto
$40.00 - In stock -
Edited by Nick Aikens
Texts by Nick Aikens, Karen Archey, Thomas Elsaesser, Pablo Lafuente, Sven Lütticken, David Riff, Hito Steyerl, Ana Teixeira Pinto
Hito Steyerl is rightly considered one of the most exciting artists working today who speculates on the impact of the Internet and digitization on the fabric of our everyday lives. Her films and writings offer an astute, provocative, and often funny analysis of the dizzying speed with which images and data are reconfigured, altered, and dispersed, many times over, accelerating into infinity or crashing into oblivion.
Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years. Newly commissioned texts by Sven Lütticken, Karen Archey, Ana Teixeira Pinto, and Nick Aikens, alongside writings by Thomas Elsaesser, Pablo Lafuente, David Riff, and Steyerl, are spliced with over one hundred pages of color stills. This publication is a charged slideshow of the artist’s extraordinary investigations into the status, circulation, and materiality of images.
Copublished with Van Abbemuseum, Eindhoven, and Institute of Modern Art, Brisbane
Design by Bardhi Haliti
Softcover, 160 pages, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - Out of stock
Andra Ursuta by Joanna Fiduccia; Shanzai Biennial by Kevin McGarry; Sergei Tcherepnin by Lawrence Kumpf; Yngve Holen by Pablo Larios; Petrit Halilaj by Elena Filipovic.
INSERT by Benjamin Senior
MAIN THEME - Post-i-Meta-Hyper-Materiality
Post-Materiality by Karen Archey; I-Materiality by Veronica So; Meta-Materiality by Rebecca Geldard; Hyper-Materiality by Ruba Katrib.
INSERT by Jochen Lempert
MONO - Massimiliano Gioni
Essay by Jonathan Griffin; Interview by Francesco Manacorda.
INSERT by Sterling Ruby
Futura: Amalia Ulman by H. U. Obrist and S. Castets; Vis-à-Vis: Carron meets Cornaro by Gary Carrion-Murayari; Producers: Alice Rawsthorn by Felix Burrichter; Panorama: Hong Kong by Leung Chi Wo; On Exhibitions: Black eyes and lemonade by Laura McLean-Ferris.
Softcover, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - In stock -
Kaleidoscope 16 – Fall 2012
Kaleidoscope is an international quarterly of contemporary art and culture. Distributed worldwide on a seasonal basis, it offers a timely guide to the present (but also to the past and possible futures) with an interdisciplinary and unconventional approach.
Aleksandra Domanovic by Pablo Larios; The High Line Art by Piper Marshall; Tri Angle Reocrdsa by Ruth Saxelby; Desire Machine Collective by Ulrich Baer and Sandhini Poddar; Sylvia Sleigh by Joanna Fiduccia.
DRAWINGS by Ken Price
MAIN THEME – Human After All
Part A) Prisoner of Flesh by Michele D’Aurizio; Part B) Talking to Machines by Jason Brown and Brody Condon introduces by DIS Magazine; Part C) David Altmejd by Karen Archey; Part D) Possibility Spaces by Manuel de Landa and Timur Si-Qin.
STICKERS by Alistair Frost
MONO – Frank Benson
Essay by Alessandro Rabottini; Interview by Matt Keegan.
IMAGES by Karthik Pandian
Futura: Liz Magic Laser by Hans Ulrich Obrist; Panorama: Marseille by Dorothée Dupuis; Souvenir D’Italie: Alberto Garutti by Luca Cerizza; Producers: Ariane Beyn by Carson Chan.
Softcover, 200 pages, 21.5 x 28.5 cm
Published by Walther König / Köln
$45.00 - Out of stock
For this project, Denny utilised the example of the conference Digital Life Design DLD – a platform for the exchange of ideas between digital media, the sciences and culture – as a way to view the recent past within a rapidly developing high-tech digital economy.
Through access to original material from DLD'S 2012 conference, the artist presented the entire content of the event from beginning to end in a large-scale installation.
In the manner of appropriation, Denny has re-used existing copies of a publication that DLD produced for 2012 to insert new content in between its pages.