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, 320 pages, 13 x 21 cm
Published by Valiz / Amsterdam
$40.00 - Out of stock
In this publication, sociologist Pascal Gielen and curator Niels Van Tomme invite a variety of artists and critical thinkers to reflect on new futures for the notion and practice of justice. Launching the proposition of ‘aesthetic justice’, the book offers thought-provoking views on the ways in which works of art may confront, and potentially redirect social and political imaginaries. Using analyses of contemporary art works that challenge the social, political or economic status quo, as well as interviews with artists and theoretical reflections, the book suggests alternatives for a more just future. It does so by considering the liberating potential of specific aesthetic frameworks used in a wide variety of artistic contexts, ranging from the visual arts to cinema, from music to theatre, and by exploring novel modes that can shape the emotionally charged concept of justice, and eventually transform it.
Contributors: Zoe Beloff, Arne De Boever, Mark Fisher, Matt Fraser, Pascal Gielen, Tessa Overbeek, Kerry James Marshall, Viktor Missiano, Carlos Motta, Nat Muller, Julie Atlas Muz, Gerald Raunig, Dieter Roelstraete, Hito Steyerl, Julia Svetlichnaja, Hakan TopalNiels Van Tomme, Samuel Vriezen, Christian Wolff
Softcover, 262 pages, 14 x 21 cm
Published by Valiz / Amsterdam
$41.00 - In stock -
Today’s networked society offers us many wondrous possibilities of information, communication, mobility, and flexibility. It also has a latent side effect: it makes the world “flat”. Time-honoured hierarchies, traditions, elites and canons are subject to erosive movements. In such a flattened, “horizontal” world, art institutions are finding it difficult to survive. After all, institutions such as these traditionally represent “verticality” – historic profundity, tradition, values, dignity, and certainty.
Contributions by: Kenny Cupers, Bart De Baere, Ann Demeester, Jimmie Durham, Alex Farquharson, Mark Fisher, Pascal Gielen, Marc Jacobs, Sonja Lavaert, Thijs Lijster, Isabell Lorey, Markus Miessen, Chantal Mouffe, Gerald Raunig, Patricia Reed, Nicolaus Schafhausen, Blake Stimson
Designed by Metahaven
$45.00 - Out of stock
#Accelerate: The Accelerationist Reader
Robin Mackay & Armen Avanessian (eds.)
Accelerationism is the name of a contemporary political heresy: the insistence that the only radical political response to capitalism is not to protest, disrupt, critique, or détourne it, but to accelerate and exacerbate its uprooting, alienating, decoding, abstractive tendencies.
The term was coined to designate a certain nihilistic alignment of theory with the excess and abandon of capitalist culture, and the associated performative aesthetic of texts that seek to become immanent to the very process of alienation. Developing at the dawn of contemporary neoliberal consensus, the uneasy status of this impulse, between subversion and acquiescence, between theoretical purchase and aesthetic enjoyment, constitutes the core problematic of accelerationism.
Since the 2013 publication of Williams's and Srnicek's #Accelerate: Manifesto for an Accelerationist Politics, the term has been adopted to name a set of new theoretical enterprises that aim to conceptualise non-capitalist futures outside of traditional marxist critiques and regressive, decelerative or restorative solutions.
#Accelerate presents a genealogy of accelerationism, tracking the impulse through 90s UK darkside cyberculture and the theory-fictions of Nick Land, Sadie Plant, Iain Grant, and anonymous units like CCRU and SWITCH, across the cultural underground of the 80s (rave, acid house, Terminator and Bladerunner) and back to its sources in delirious post-68 ferment, in texts whose searing nihilistic jouissance would later be disavowed by their authors and the marxist and academic establishment alike.
On either side of this largely unexplored central sequence, the book includes texts by Marx that call attention to his own 'Prometheanism' and key works from recent years document the recent extraordinary emergence of new accelerationisms steeled against the onslaughts of neoliberal capitalist realism, and retooled for the twenty-first century.
At the forefront of the energetic contemporary debate around this disputed, problematic term, #ACCELERATE activates a historical conversation about futurality, technology, politics, enjoyment and Kapital. This is a legacy shot through with contradictions, yet urgently galvanized today by the poverty of 'reasonable' contemporary political alternatives.
Karl Marx - Fragment on Machines
Samuel Butler - The Book of The Machines
Nikolai Fyodorov - The Common Task
Thorstein Veblen - The Machine Process and the Natural Decay of the Business Enterprise
Shulamith Firestone - On the Two Modes of Cultural History
Jacques Camatte - Decline of the Capitalist Mode of Production or Decline of Humanity?
Gilles Deleuze + Félix Guattari - The Civilized Capitalist Machine
Jean-François Lyotard - Energumen Capitalism
Gilles Lipovetsky - Power of Repetition
JG Ballard - Fictions of All Kinds
Nick Land - Circuitries
Nick Land + Sadie Plant - Cyberpositive
Iain Hamilton Grant - LA 2019: Demopathy and Xenogenesis
CCRU - Cybernetic Culture
CCRU - Swarmachines
Mark Fisher - Terminator vs Avatar
Nick Srnicek and Alex Williams - #Accelerate: Manifesto for an Accelerationist Politics
Antonio Negri - Reflections on the Manifesto
Tiziana Terranova - Red Stack Attack!
Luciana Parisi - Automated Architecture
Patricia Reed - Seven Prescriptions for Accelerationism
Reza Negarestani - The Labour of the Inhuman (Extended Mix)
Benedict Singleton - Maximum Jailbreak (Extended Mix)
Ray Brassier - Prometheanism and its Critics
Nick Land - Teloplexy: Notes on Acceleration
Diann Bauer - 4xAccelerationisms
Softcover, 148 pages, 214 x 20 cm
Published by Sternberg Press / Berlin
$26.00 - Out of stock
Eva Grubinger, Jörg Heiser (Eds.)
Contributions by Aleksandra Domanović, Mark Fisher, Nathalie Heinich, Mark Leckey, Jean-François Lyotard and Bernard Blistène, Jussi Parikka, Christiane Sauer, Timotheus Vermeulen
While the first volume Sculpture Unlimited (2011) dealt with the question of how the contemporary field of sculpture can be defined in a useful and stimulating manner against its long history, the second volume looks at the present and future. Once again edited by Eva Grubinger and Jörg Heiser, with contributions by internationally reputed artists and scholars, this volume poses the following question: If we assume that computers and algorithms increasingly control our lives, that they not only regulate social and communicative traffic but also produce new materials and things, does this increase or decrease the space for artistic imagination and innovation? Where is the place of art and sculpture, provided we don’t want art to resort to merely maintaining aesthetic traditions?
With sculpture as a leading reference, the contributions address theory, aesthetics, and technology: Do current philosophical movements such as new materialism and object-oriented ontology affect our notion of the art object? Does so-called post-Internet art have a future? And how does the Internet of Things relate to objects and things in art?
Design by Surface
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, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - Out of stock
Kaleidoscope Issue #11 – Summer 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.
HIGHLIGHTS: Steven Shearer by Dieter Roelstraete; Slavs & Tatars by Carson Chan; Kaari Upson by Quinn Latimer; Alina Szapocznikow by Chris Sharp; Greg Parma-Smith interview by Nicolas Guagnini.
MAIN THEME: POP RIGHT NOW: Roundtable with Bettina Funcke, Massimiliano Gioni, John Miller, moderated by Joanna Fiduccia, with a postscript by Boris Groys, and artworks by Darren Bader; Justin Bieber by Francesco Spampinato; Rashid Johnson interview by Alessio Ascari; The Dark Side of Hipness Mark Greif and Richard Lloyd in conversation.
MONO: MARK LECKEY: Lost in the Supermarket by Barbara Casavecchia; The Browser Is a Portal by Isobel Harbison; Special Project by Mark Leckey; Art Stigmergy interview by Mark Fisher.
COLUMNS: PIONEERS: Morgan Fisher by Simone Menegoi; FUTURA: Helen Marten interview by Hans Ulrich Obrist; MAPPING THE STUDIO: Simon Denny by Luca Cerizza; CRITICAL SPACE: Douglas Coupland interview by Markus Miessen; ON EXHIBITION: Jeff Koons’ “The New” by Paola Nicolin; LAST QUESTION: And What About Pop Music? answer by Scott King.