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.
$52.00 - In stock -
Animals have become the focus of much recent art, informing numerous works and projects featured at major exhibitions including dOCUMENTA (13) (2013), the 10th Shanghai Biennale (2014), and the 56th Venice Biennale (2015). Contemporary art has emerged as a privileged terrain for exploring interspecies relationships, providing the conditions for diverse disciplines and theoretical positions to engage with animal behavior and consciousness.
This interest in animal nature reflects a number of current issues. Observations of empathy among nonhumans prompt reconsiderations of the human. The nonverbal communication of animals has been compared with poetic expansion of the boundaries of language. And the freedom of animal life in the wild from capitalist subordination is seen as a potential model for reconfiguring society and our relationship to the wider environment. Artists’ engagement with animals also opens up new perspectives on the dynamics of dominance, oppression, and exclusion, with parallels in human society. Animal nature is at the heart of debates on the Anthropocene era and the ecological concerns of scientists, thinkers, and artists alike. Centered on contemporary artworks, this anthology attests to the trans-disciplinary nature of this subject, with art as one of the principal points of convergence.
Artists surveyed include
Allora & Calzadilla, Francis Alÿs, Julieta Aranda, Brandon Ballengée, Joseph Beuys, Marcel Broodthaers, Lygia Clark, Marcus Coates, Jimmie Durham, Marcel Dzama, Simone Forti, Pierre Huyghe, Natalie Jeremijenko, Joan Jonas, Eduardo Kac, Mike Kelley, Henri Michaux, Robert Morris, Henrik Olesen, Lea Porsager, Julia Reodica, Carolee Schneemann, Michael Stevenson, Rodel Tapaya, Rosemarie Trockel, Apichatpong Weerasethakul, Haegue Yang, Adam Zaretsky
Giorgio Agamben, Steve Baker, Raymond Bellour, Walter Benjamin, John Berger, Jonathan Burt, Ted Chiang, Simon Critchley, Gilles Deleuze, Jacques Derrida, David Elliott, Carla Freccero, Maria Fusco, Tristan García, Félix Guattari, Donna J. Haraway, Seung-Hoon Jeong, Miwon Kwon, Chus Martinez, Brian Massumi, Thomas Nagel, Jean-Luc Nancy, Ingo Niermann, Vincent Normand, Ana Teixeira Pinto, Will Self, Jan Verwoert, Eduardo Viveiros de Castro
About the Editor
Filipa Ramos is editor-in-chief of art-agenda and a Lecturer in Experimental Film at Kingston University and Moving Image at Central Saint Martins, London. She is the author of Lost and Found: Crisis of Memory in Contemporary Art (2009).
Hardcover, 92 pages, 21 x 13.5 cm
Ed. of 1,250,
Published by Bookworks / London
$33.00 - In stock -
Master Rock is a repertoire for a mountain.
Rough land, open palm. Bodies are machines that shake. Big boned faces, big hands, big claws, ah Jesus, well-used. Bore. Blast. Smash. Force on loan. Must be hard and clever to survive in this technological age. Granite knows the biological. Gods inside the mountain, just plain men outside.
Working through the cavernous space in Ben Cruachan, the largest peak on the west coast of Scotland, Maria Fusco exhumes three fictional voices from fact: Tunnel tigers, the Irish explosives experts who emptied out the mountain to build a power station; Elizabeth Falconer, the artist who produced a mural inside that only the site’s workers ever see; and Granite, the 450 million year-old rock of Cruachan itself as a main character.
Fusco uses original writing, archival materiality and topographical reportage as her tools to compress geology, mythology and technology: to write the inside of her mountain.
Maria Fusco is a Belfast-born writer and is the founder and editorial director of The Happy Hypocrite. Her work is published internationally and translated into eight languages. She is the author of With A Bao A Qu Reading When Attitudes Become Form (New Documents, 2013), The Mechanical Copula (Sternberg Press, 2010) and wrote the screenplay for GONDA, a film by Ursula Mayer, commissioned by Film London, and published as a ciné-roman (Sternberg, 2012). Fusco has been invited writer-in-residence at Lisbon Architecture Triennale, Kadist Art Foundation, Paris, and Whitechapel Gallery, London, and, has been awarded as a Jerwood Creative Catalyst. She is a Reader at Edinburgh College of Art, University of Edinburgh and was Director of Art Writing at Goldsmiths, University of London.
Master Rock is a commission by Artangel and BBC Radio 4, with the support of Creative Scotland and co-published by Artangel and Book Works, as part of Co-series, No. 11. Designed by A Practice for Everyday Life, edition of 1,250.
Softcover, 104 pages, offset/newsprint, 165 x 235 mm
Published by Dexter Sinister / New York
$27.5.00 - Out of stock
In this issue:
D/S present PARALLEL introductions
Richard Hollis on the EYE and the EAR
James Goggin itemizes ways of reading in London, 2008 with Maria Fusco, Will Holder, Richard Hollis, Maki Suzuki and Jörg Heiser
Will Holder speaks of the poetics of concrete poetry and documenting the work of Falke Pisano
Stefan Themerson & Language - a film by Erik van Zuylen introduced by Mike Sperlinger
Dan Fox plays an extended version of Refracted Light Through Armoury Show
Jennifer Higgie reads from Carnival Theory, a play-in-progress with Johnny Vivash
Agency presents Specimen 0880: Papa Hemingway
David Reinfurt explains NaÏve Set Theory with an overhead projector
Malcolm McLaren (in absentia) is interviewed by Mark & Stephen Beasley (in absentia)
Stuart Bailey - describes the Science, Fiction of E.C. Large with Will Holder and David Reinfurt
Alex Klein - Portrait of Genesis Breyer P-Orridge, New York City, May 2008
Mitim (Eta) by Radim Peško
Walead Beshty - Beshty’s Possible Triangle, 2008
Dexter Sinister - Beshty’s Possible Triangle, 2008
Janice Kerbel - Remarkable, 2008
The Middle of Nowhere, Chapter 8 by Will Holder
Softcover, 148 pages, 215 x 280 mm
Published by Walther König / Köln
$39.00 - Out of stock
Rethinking the one day event Cosey Complex, which Maria Fusco devised and organised with Richard Birkett at the ICA in London in 2010, this new book will be the first major publication discussing and theorising Cosey as methodology. Contributors include: Martin Bax, Gerard Byrne, Daniela Cascella, Lili Reynaud-Dewar, Diedrich Diederichsen, Graham Duff, Anthony Elms, Chris Kraus, Patricia MacCormack, Clunie Reid, Rob Stone, Corin Sworn and Cosey Fanni Tutti.
Softcover, perfect bound, 176 pages (colour ills), 30 x 23 cm
Edition of 1000,
Published by Discipline / Melbourne
$25.00 - Out of stock
Second issue of Melbourne's Discipline!
Nicholas Croggon & Helen Hughes Editorial
Emanuele Coccia (trans. by Connal Parsley) End of Love
Amelia Barikin Time Shrines: Melancholia and Mourning in the Work of Ash Keating
Francis Plagne Matt Hinkley and the Embedded Mark
Helen Hughes Aestheticising Architecture / Architecturalising Aesthetics: Callum Morton and Bianca Hester
Timothy Morton Yukultji Napangati: Occupying Dreaming
Helen Johnson A Moment An Immeasurable Whole (on Mira Gojak)
David Homewood RR / SK: Public Exhibition
Steve Salisbury Kimberley Dinosaur Tracks
Kate Warren Unstable Realities in Omer Fast’s Five Thousand Feet Is The Best
Adrian Martin Price Tag
Vivian Ziherl Recommended Reading: LIP Magazine (1976-1984)
Sarinah Masukor All The News That’s Fit To Sing: Vernon Ah Kee’s Tall Man
Tim Alves The Telling Moment Revisited: Vernon Ah Kee’s Tall Man
Nikos Papastergiadis Can There Be a History of Contemporary Art?
James Parker Retromania and the Atemporality of Contemporary Pop
GUEST EDITED SECTION - MARIA FUSCO (EDITOR)
Maria Fusco Editorial: The Human Word is Midway Between the Muteness of Animals and the Silence of God
Nikolaus Gansterer & Moira Roth The Hand & The Creature
John Berger Why Look At Animals?
Yve Lomax A Philosopher, A Cat, A Monkey and Nudity
John Bevis Mnemonics for Bird Songs and Calls
Nikolaus Gansterer & Moira Roth The Hand, The Creatures & The Singing Garden
A Constructed World
Christopher LG Hill
Editors: Nick Croggon and Helen Hughes
Guest Editor: Maria Fusco
Design: Annie Wu and Ziga Testen
Softcover, 168 pages, 23 x 16.5 cm
Published by Bookworks / London
$23.00 - Out of stock
The Happy Hypocrite 5 - What Am I?
The fifth issue. Garbed in a sequence of paradigmatic structures such as the joke, the notebook, the novel and the script, this issue's range of contributions defy the innate obsolescence of classification through their embrace of poetic analysis. Contributors include: Shumon Basar, Kate Briggs, George Clark, Ruth Ewan, Beatrice Gibson, Antonia Hirsch, Chris Kraus, Hanne Lippard, The Plebs, Seth Price, Laure Prouvost, Stephen Sutcliffe and Sarah Tripp.
The Happy Hypocrite is a semi-annual journal for and about experimental art writing. Informed by a lineage of modern experimental and avant-garde magazines, such as: Bananas, Documents, The Fox, Merlin and Tracks, HH aspires to unpack their methodologies whilst providing a new constituency for contemporary art writing. Providing a greatly needed testing ground for new writing and research-based projects, somewhere for artists, writers and theorists to express experimental ideas that might not otherwise be realised or published.
Edited by Maria Fusco, published by Book Works, London.
$26.00 - Out of stock
Judgment and Contemporary Art Criticism is the result of a public forum and reading room (held in 2009 at Emily Carr University and at Artspeak respectively) that investigated the role of valuation art criticism. The publication features commissioned texts by forum presenters and respondents: Jeff Derksen, Diedrich Diederichsen, James Elkins, Maria Fusco, Sven Lütticken, Tom Morton, Kristina Lee Podesva, William Wood, and Tirdad Zolghadr. Examining the efficacy and function of art criticism, the publication focuses on the role of judgment in contemporary art writing and includes transcriptions from forum discussions with the Vancouver audience.
Co-edited by Jeff Khonsary and Melanie O’Brian and co-published by Artspeak and Fillip.
Judgment and Contemporary Art Criticism is the first title in Fillip’s Folio Series which presents new and previously published writing by critics, artists, and curators that engages specific and recurring questions on international contemporary art.
Co-published with Artspeak, Vancouver. Design: The Future.
Softcover, 120 pages, 130 x 195 mm
Published by Sternberg Press / Berlin
$26.00 - Out of stock
The Mechanical Copula is the first collection of short stories by Maria Fusco. Stripping bare the accord of culture and commodity, this sequence of stories tracks the slimy path of social mobility with serious playfulness and an eye for the absurd. Tales of Donald Sutherland fucking a doll, two men eating a clown, and how the obsessive searching of bins can transform trash into meaning, this is a book about the porous relationship between the extramundane and the average.
“One evening, after surgery had finished at the Health Centre for the day, Nurse Kirby sat at the office computer. She’d decided to search for other babies who’d been born with teeth and discovered sixteen individual cases in Croatia, Ireland, Spain and Italy – but all of those infants had incisor teeth. The only baby she could find like Ruby had been born in Brasilia. In 1989, an uncommonly large baby girl was delivered with four molars, when she was eleven weeks old one of the teeth came out, lodged in her throat and choked her. Must keep an eye on baby Ruby, Nurse Kirby thought to herself, and shut down the computer.”
Maria Fusco is Director of Art Writing at Goldsmiths, University of London. She is also the founding editor of The Happy Hypocrite, a journal for and about experimental art writing.
Design by Surface, Frankfurt am Main/Berlin