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, 975 pages, 19 x 26 cm
Published by The Exhibitionist / New York
$78.00 - In stock -
Edited with introduction by Jens Hoffmann.
A journal by curators for curators, The Exhibitionist has asked the most pertinent questions on contemporary exhibition-making since its founding in 2009.
The Exhibitionist: Journal on Exhibition Making is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modelled after the iconic French film journal Cahiers du cinéma, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. The Exhibitionist has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of—the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
Over the six years of its run, The Exhibitionist has published writings from many of the most prominent curatorial voices in the field, offering a who’s who of curatorial practice; contributors include Okwui Enwezor, Hans Ulrich Obrist, Mary Jane Jacob, Nato Thompson, Jessica Morgan, Maria Lind, Sofía Hernández Chong Cuy and Massimiliano Gioni, to name just a select few.
Collected together in a monumental omnibus edition (clocking in at 975 pages), the complete run of the journal is accompanied by a new introduction by founding editor Jens Hoffmann, and a critical approach to a theory of the exhibition by senior editor Julian Myers-Szupinska. With the publication of this volume, The Exhibitionist closes a chapter of its existence as a print magazine and shifts its activities to the-exhibitionist.com.
Softcover, 304 pages, 14 x 20 cm
Published by Independent Curators / New York
$45.00 - In stock -
Since the publication of "Thinking Contemporary Curating" in 2012, art historian Terry Smith has continued his travels through the globalizing art world, talking to curators. The dozen searching conversations in this book--with Carolyn Christov-Bakargiev, Claire Bishop, Zdenka Badovinac, Mami Kataoka, Mari Carmen Ramírez, Okwui Enwezor, Germano Celant, Jens Hoffmann, Hans Ulrich Obrist, Maria Lind, Zoe Butt and Boris Groys--provide a vivid sense of contemporary curatorial thought at work. They show curators deeply immersed in thinking about the exigencies of practice, the contexts of exhibition-making, the platforms through which art may be made public, and about what their work can contribute toward understanding what it means to be alive today.
Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh. In 2010 he was named Australia Council Visual Arts Laureate by the Australian Government, and won the Mather Award for art criticism conferred by the College Art Association (USA). He is the author of "Making the Modern: Industry, Art and Design in America" (University of Chicago Press, 1993); "The Architecture of Aftermath" (University of Chicago Press, 2006), "What is Contemporary Art?" (University of Chicago Press, 2009), "Contemporary Art: World Currents" (Laurence King and Pearson/Prentice-Hall, 2011) and "Thinking Contemporary Curating" (Independent Curators International, 2012).
Softcover, 272 pages, 22 x 29.3 cm
Published by Kaleidoscope Press / Milan
$20.00 - Out of stock
Kaleidoscope #27 (Summer 2016) is issue is a key to enter the world of Los Angeles-based artist Sterling Ruby, exclusively playing the double role of subject and guest editor. Conceived as a viral, aggressive takeover of the magazine’s architecture, content and design, this hyper-vertical survey is the result of an intense dialogue with the artist and his studio, comprised of 160+ pages on his exuberant work and vision.
Ruby’s cover portrait is drawn from an extensive series shot by photographer Max Farago at the artist’s massive industrial studio space in LA. Inside, the Sterling Ruby Takeover decodes the artist's grammar through an intimate conversation with artist Piero Golia and newly commissioned writings by Alex Gartenfeld, Donatien Grau, Aram Moshayedi, Ross Simonini, Paul Schimmel and Catherine Taft; while his network of influences is explored through a series of guest features dedicated to his peers, heroes and collaborators, including Huma Bhabha (by Massimiliano Gioni), Cassils (by Francesca Gavin), Mike Davis (by Sterling Ruby), John Divola (by Alexander Shulan), Cyprien Gaillard (by Natalia Valencia Arango), Ron Nagle (by Sterling Ruby), Nancy Rubins (by Sterling Ruby), Raf Simons (by Alessio Ascari) and Melanie Schiff (by Sarah Workneh). All of this content is punctuated by stunning visual contributions especially created by Ruby for the magazine’s pages, comprising an unseen presentation of his Work Wear modeled by the entire studio team.
Born in 1972 on an American air force base in Germany, raised in rural Pennsylvania, trained in Chicago, Ruby moved to LA to finish his education, became Mike Kelley’s teaching assistant and quickly one of the city’s quintessential artists. Now 44, he runs a megastudio with a staff of over twenty under the big black sun. Complex to label in his unapologetic combination of compulsion and strategy, bigness and poetry, handcraft and seriality, darkness and psychedelia, hard and soft, Ruby is one of the most unique and controversial voices on the art scene, working incessantly across the most diverse media and platforms and stretching the limits of visual language. This hybrid editorial experiment coincides with the artist's major show at the Belvedere/Winterpalais in Vienna and participation in the “Made in LA“ biennial at Hammer Museum, Los Angeles.
Running independent from the takeover, the opening section of HIGHLIGHTS and the closing section of REGULARS complete the issue with a rich and varied selection of the best of the summer season and insightful contributions from our columnists and correspondents around the globe.
HIGHLIGHTS features profiles on Sean Raspet (by Franklin Melendez), Kienholz (by Gianni Jetzer), Marguerite Humeau (by Nadim Samman), Eckhaus Latta (by Chloe Wilcox), Sol Calero (by George Vasey), Renaud Jerez (by Tina Kukielski), Christopher Y. Lew (by Julia Trotta), Yngve Holen (by Cristina Travaglini), Home Economics (by Attilia Fattori Franchini), Valerie Keane (by Allison Bulger), Cao Fei (by Xin Wang) and Megan Rooney (by Harry Burke).
In the REGULARS section, “Producers” features Carson Chan in conversation with New York-based collective DIS; in “Futura 89+,” Hans Ulrich Obrist and Simon Castets (with Katherine Dionysius) interview young Portuguese artist Bruno Zhu; Fiona Duncan reflects on the figure of the go-go dancer in contemporary art and culture as part of her “Pro/Creative” column; in “Renaissance Man,” Jeffrey Deitch discusses the collaboration between artist Alex Israel and writer Bret Easton Ellis; Maria Lind's “Centerstage” presents Danish artist Marie Kölbaek-Iversen; Gean Moreno unveils Cuba’s new normal for “Panorama”; in “Pioneers,” Fredi Fischli and Niels Olsen talk to Heimo Zobernig; and lastly, as part of the “What's Next” series, we look forward to the season with collector and curator Tiffany Zabludowicz.
Softcover, 416 pages (150 b/w ill.), 140 x 215 mm
Published by Sternberg Press / Berlin
$34.00 - In stock -
Edited by Brian Kuan Wood
Selections and responses by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr
Working in a number of contexts and capacities has shown Maria Lind to be a curator who, over time, has engaged in a rethinking of the art institution and the formats and methodologies connected with it, taking art itself as a starting point. Following on the various endgames outlined by institutional critique, Lind has forged paths out of hegemonic institutional regimes precisely by identifying other ways of working through them, from both inside and outside.
For Lind, writing is integral to her curatorial work. It is where she accounts for her decisions, explains her intention, justifies her interest, toys with new possibilities and develops new ideas, and recognizes historical precedents. It is where the craft of curating, already pointed out towards a public, finds another channel of articulation.
Selected Maria Lind Writing brings together twenty-two essays selected by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr.
The collection of essays spanning from 1997 to 2010 forms a tapestry of Lind's own interweaving interests, but also of those of a panel of readers invited by Lind to project their own concerns onto her corpus of writing. Essays on individual artists, monographic and group exhibitions, funding structures, new contexts and spatial paradigms, together comprise a rare opportunity to swivel a spotlight on its axis back towards a figure who always tries to aim it at what really matters.
Maria Lind is a curator and writer based in Stockholm. She was the director of the graduate program at the Center for Curatorial Studies, Bard College, 2008 to 2010. She was director of Iaspis in Stockholm 2005 to 2007 and from 2002 to 2004 was the director of Kunstverein München. From 1997 to 2001, Lind was curator at Moderna Museet in Stockholm, where she was responsible for Moderna Museet Projekt. She was co-curator of Manifesta 2 in 1998. Lind has contributed widely to magazines and other publications, as well as to numerous exhibition catalogues. She was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement.
Design by Liam Gillick
softcover, 306 pages, 10.5 x 15 cm
Published by Sternberg Press / Berlin
$19.00 - In stock -
Contributions by Can Altay, Ayreen Anastas and Rene Gabri, Ricardo Basbaum, Céline Condorelli, Cooperativa Crater Invertido, Mark Fisher and Nina Möntmann, Daniel Foucard, Rebecca Gordon-Nesbitt, Elaine W. Ho, Annette Krauss, Mattin, Andrea Phillips, Marion von Osten, Dimitrina Sevova, Simon Sheikh, Steven Ten Thije
Cluster is a network of eight contemporary visual arts organizations that are each located in residential areas situated on the peripheries of European cities, extending to the Middle East with one member in Holon, Israel. Each organization is focused on commissioning, producing, and presenting contemporary art, and the nature of the work is often experimental, process-driven, involves research, is based on working with international and local artists, and often engages with diverse publics on a local level.
Compiled after a series of meetings in each organization over a period of two years, Cluster: Dialectionary aims to find new ways to position this work and the work of contemporary visual arts organizations more broadly, particularly in relation to wider social, political, and cultural concerns.
The book includes essays by Andrea Phillips, Mark Fisher and Nina Möntmann, Marion von Osten, and Cluster members. These are accompanied by a series of keywords that are drawn from the practices and experiences of the people who work at, visit, and live with the organizations. They have both been produced within the contexts of the projects that gave rise to them, as well as written especially for the publication. The contributors include Can Altay, Ayreen Anastas and Rene Gabri, Pierre Bal Blanc, Alexandre Baudelot, Ferran Barenblit, Ricardo Basbaum, Binna Choi, Céline Condorelli, Cooperativa Crater Invertido, Eyal Danon, Julien Duc-Maugé, Udi Edelman, Mark Fisher and Nina Möntmann, Daniel Foucard, Dora Garcia, Rebecca Gordon-Nesbitt, Elaine W. HO, Annette Krauss, Bojana Kunst, Maria Lind, Pablo Martinez, Mattin, Sanne Oorthuizen, Marion von Osten, Emily Pethick, Natasa Petresin-Bachelez, Andrea Phillips, Tadej Pogacar, Dimitrina Sevova, Simon Sheikh, Louise Shelley, Steven Ten Thije, Mathilde Villeneuve, and Jason Waite.
The members of Cluster are: CAC Brétigny, Brétigny-sur-Orge; Casco – Office for Art, Design and Theory, Utrecht; CA2M Centro de Arte Dos de Mayo, Móstoles, Madrid; The Israeli Center for Digital Art, Holon; Les Laboratoires d’Aubervilliers, Paris; P74 Center and Gallery, Ljubljana; The Showroom, London; and Tensta konsthall, Stockholm.
Design by Åbäke
Softcover, 162 pages (58 b/w/ ill.), 18 x 21.5 cm
Published by Sternberg Press / Berlin
$180.00 - In stock -
Edited and introduced by Maria Lind, and with a preface by Johan Öberg, and contributions by Doug Ashford, Beatrice von Bismarck, Boris Buden, Clémentine Deliss, Helmut Draxler, Eungie Joo, and Marion von Osten Within contemporary art, the curator’s mediating function has developed into “the curatorial” itself. The curatorial is akin to methodologies used by artists that focus on post-production approaches—that is, principles of montage, with disparate images, objects, as well as other material and immaterial phenomena that are brought together within a particular time and space-related framework. Because the curatorial has clear performative sides, ones that seek to challenge the status quo, it also includes elements of choreography, orchestration, and administrative logistics—like all practices working with defining, preserving, and mediating cultural heritage in a wider sense. Is curating therefore essentially an act of translation? If so, with what purpose, and can it be performed elsewhere? Performing the Curatorial brings together a diverse group of curators, artists, art historians, educators, and thinkers, all of whom reflect on the curatorial motives, tendencies and tactics, pitfalls, and exegeses in translating, and thus performing, cultural heritage. Design by Luca Frei
Softcover, 148 pages, 15.5 x 24 cm
Published by Mousse Publishing / Milan
$35.00 - In stock -
In Ten Fundamental Questions of Curating ten distinguished contemporary curators—Jessica Morgan, Juan A. Gaitán, Chus Martínez, Sofía Hernández Chong Cuy, Elena Filipovic, Maria Lind, João Ribas, Peter Eleey, Adriano Pedrosa and Dieter Roelstraete—pose and then propose answers to a series of key questions related to curating, art and exhibition making today: What Is a Curator? What Is the Public? What Is Art? What About Collecting? What Is an Exhibition? Why Mediate Art? What To Do with the Contemporary? What About Responsibility? What Is the Process? How About Pleasure?
The book, which began as a series of ten commissioned essays for Mousse magazine written over a period of two years, in 2011 to 2012, contains a text by Jens Hoffmann—Deputy Director and Head of Exhibitions and Public Programs of the Jewish Museum in New York and editor of the publication—and Milovan Farronato, Director of the Fiorucci Art Trust.
Ten Fundamental Questions of Curating is a project published by Mousse in collaboration with the Fiorucci Art Trust.
Softcover, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - In stock -
Kaleidoscope 10 – Spring 2011
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.
Michael E. Smith by Chris Sharp; Jean-Léon Gérome by Marie de Brugerolle; Kathryn Andrews by Michael Ned Holte; Criticism as Fiction? by Vincenzo Latronico; John Divola by Chris Wiley.
MAIN THEME – Art Faces the Economy
Superflex by Marina Vishmidt; Charles Esche and Maria Lind in conversation; Current Account by Nav Haq; Zachary Formwalt by Binna Choi
MONO – Haegue Yang
Essay by Bart van der Heide; Focus by Joanna Fiduccia; Special project by Haegue Yang; Interview by Yasmil Raymond.
Pionners: Absalon by Simone Menegoi; Futura: Raumlabor by Hans Ulrich Obrist; Mapping the Studio: Heimo Zobernig by Luca Cerizza; Vis à vis: Leigh Ledare and Hilary Lloyd by Elena Filipovic; Critical Space: Chantal Mouffe by Markus Miessen; Last Question by Alessandro Pessoli.
Hardcover, 256 pages (30 b/w ills.), 16.9 x 23.9 cm
Published by Sternberg Press / Berlin
$32.00 - Out of stock
With contributions by Agency, David Berry, Nils Bohlin, Sean Dockray, Rasmus Fleischer, Antonia Hirsch, David Horvitz, Mattin, Open Music Archive, Matteo Pasquinelli, Claire Pentecost, Florian Schneider, Matthew Stadler, Marilyn Strathern, Kuba Szreder, Marina Vishmidt; preface by Binna Choi, Maria Lind, Emily Pethick
Undoing Property? examines complex relationships inside art, culture, political economy, immaterial production, and the public realm today. In its pages artists and theorists address aspects of computing, curating, economy, ecology, gentrification, music, publishing, piracy, and much more.
Property shapes all social relations. Its invisible lines force separations and create power relations felt through the unequal distribution of what is otherwise collectively produced value. Over the last few years the precise question of what should be privately owned and publicly shared in society has animated intense political struggles and social movements around the world. In this shadow the publication’s critical texts, interviews and artistic interventions offer models of practice and interrogate diverse sites, from the body, to the courtroom, to the server, to the museum. The book asks why propertization itself has changed so fundamentally over the last few decades and what might be done to challenge it. The "undoing" of Undoing Property? begins with the recognition that something else is possible.
Design by Konst & Teknik
Softcover, 376 pages, 17 b/w ill., 14 x 21 cm
Published by Sternberg Press / Berlin
$26.00 - Out of stock
Contributions by Beatrice von Bismarck, Gabriele Brandtstetter, Helmut Draxler, Liam Gillick, Dorothea von Hantelmann, Hannah Hurtzig, Pirkko Husemann, Maria Lind, Marion von Osten, Raqs Media Collective, Dorothee Richter, Irit Rogoff, Jörn Schafaff, Avinoam Shalem, Simon Sheikh, Barbara Steiner, Nora Sternfeld, Hito Steyerl, Anton Vidokle, Eyal Weizman, Thomas Weski, Tirdad Zolghadr
Cultures of the Curatorial assumes a curatorial turn in contemporary cultural practice and discourse. Encompassing a whole field of knowledge relating to the conditions and relations of the appearance of art and culture, the curatorial has developed as a field of overlapping and intertwining activities, tasks, and roles that were formerly divided and more clearly attributed to different professions, institutions, and disciplines. This development has affected the notion of curating—principally an activity of putting together—and widened its scope beyond showing or presenting to include enabling, making public, educating, analyzing, criticizing, theorizing, editing, and staging. Embedded in the globalization of the art field, on the one hand, and the conditions of labor in the twenty-first century, on the other, the curatorial has gained a specific sociopolitical relevance within contemporary society.
The publication aims to map the scope of perspectives from which this field of knowledge can be discussed. Coming from a variety of disciplines and professional backgrounds, the contributors exemplify the entanglement of theory and practice, consider recent developments within the curatorial field, allow self-reflexive analysis, and explore the conditions—disciplinary, institutional, economic, political, and regional—under which art and culture become public.
Copublished with Kulturen des Kuratorischen, Hochschule für Grafik und Buchkunst Leipzig
Design by Surface, Frankfurt am Main / Berlin
Softcover, 287 pages (52 color and 9 b/w ill.), 16.5 x 23 cm
Published by Sternberg Press / Berlin
$28.00 - Out of stock
Contributions by Pierre Bal-Blanc, Franco “Bifo” Berardi, Ana Betancour, Jonatan Habib Engqvist, Annika Eriksson, Kirsten Forkert, Catharina Gabrielsson, Ingela Johansson, Lars Bang Larsen, Maria Lind, Sarat Maharaj, Making A Living (MAL), Michele Masucci, Helena Mattsson, Nina Power, OTCOP, Pratchaya Phinthong, Raqs Media Collective, Judith Revel, Lisa Rosendahl, Joanna Sokołowska, Hito Steyerl, Mladen Stilinović, Nina Svensson, Cecilia Widenheim
The relationship of art to work and the conditions of artistic production has long engaged many in the field of visual art. Work is a broad concept, the meaning of which has changed radically as a result of the social and technological transformations that have taken place over the past century. What, then, is “work” today and what is its relation to art? What is the position of the artist if “creativity” has become a commodity? How can the artist’s conditions of production be described, and what role can art and architecture play in societal change?
The texts in this reader provide perspectives on some of these questions emerging from the series of seminars conducted during the late autumn of 2010 at Iaspis in Stockholm, the Swedish Arts Grants Committee’s international program for visual art, architecture, crafts, and design. The seminars brought together visual artists, architects, theoreticians, curators, and writers with diverse backgrounds and experience. They were arranged into three themes: the relationship between art and work, the current conditions of production and the organization of work within the field of visual art, and the role of art and architecture in politics and society.
Co-published with Iaspis
Design by Medium
Hardcover, 266 pages (5 b/w and 43 color ill.) 11 x 17.8 cm
Published by Sternberg Press / Berlin
$31.00 - Out of stock
With contributions by Can Altay, Charles Arsène-Henry, Shumon Basar, Richard Birkett, Andrew Blauvelt, Edward Bottoms, Wayne Daly, Jesko Fezer, Joseph Grigely, Nikolaus Hirsch, Maria Lind, Markus Miessen, Michel Müller, Radim Peško, Barbara Steiner
To accompany his exhibition at the Museum of Contemporary Art Leipzig, this book presents the work of the Swiss-American graphic designer Zak Kyes. In collaboration with the curator, Barbara Steiner, the exhibition and publication bring together a range of works by Kyes, as well as works by a host of collaborators that includes architects, artists, writers, curators, editors, and graphic designers, presenting contemporary graphic design as a practice that mediates, and is mediated by, its allied disciplines.
Kyes, who lives and works in London, is known for his critical approach to graphic design, which encompasses publishing, editing, and site-specific projects for and in collaboration with cultural institutions. In 2005, Kyes founded the design studio Zak Group, and, in 2006, he became Art Director of the Architectural Association (AA), London. Under the auspices of the AA, he organized the seminal touring exhibition “Forms of Inquiry: The Architecture of Critical Graphic Design,” and later cofounded Bedford Press, an imprint that seeks to develop new models for contemporary publishing. By broadening the highly specialized role of the designer, Kyes challenges and further develops today’s graphic design practice.
While this work constitutes the exhibition’s point of departure, i