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.
$30.00 - Out of stock
Introduction by Matias Viegener
Afterword by John Kinsella
“Why am I telling you all this? Partly ‘cause the whole queerness/identity thing for me stretches through everything, absolutely everything. Slipping between straight/gay is child’s play compared to slipping between writer/teacher/influence-peddler whatever. I forget who I am. You reminded me of who I prefer to be.” [M.W.]
“It’s two in the morning. . . I know what you mean about slipping roles: I love it, going high low, power helpless even captive, male female, all over the place, space totally together and brain-sharp, if it wasn’t for play I’d be bored stiff and I think boredom is the emotion I find most unbearable. . . ” [KA]
— from I’m Very into You
After Kathy Acker met McKenzie Wark on a trip to Australia in 1995, they had a brief fling and immediately began a heated two-week email correspondence. Their emails shimmer with insight, gossip, sex, and cultural commentary. They write in a frenzy, several times a day; their emails cross somewhere over the International Date Line, and themselves become a site of analysis. What results is an index of how two brilliant and idiosyncratic writers might go about a courtship across 7,500 miles of airspace—by pulling in Alfred Hitchcock, stuffed animals, Georges Bataille, Elvis Presley, phenomenology, Marxism, The X-files, psychoanalysis, and the I Ching.
Their corresepondence is a Plato’s Symposium for the twenty-first century, but written for queers, transsexuals, nerds, and book geeks. I’m Very Into You is a text of incipience, a text of beginnings, and a set of notes on the short, shared passage of two iconic individuals of our time.
About the Authors
Kathy Acker was a novelist, essayist and performance artist whose books include Blood and Guts in High School, The Childlike Life of the Black Tarantula, Empire of the Senseless, In Memoriam to Identity, Don Quixote, My Mother: Demonology, and her last novel, Pussy King of the Pirates. Born and raised on New York’s Upper East Side, she died of breast cancer in Tijuana, Mexico, in 1997.
McKenzie Wark is an Australian-born writer whose books include Virtual Geography, A Hacker Manifesto, Gamer Theory, The Beach Beneath the Street,Telesthesia and The Spectacle of Disintegration. He teaches at The New School in New York City.
“...this collected correspondence offers a fascinating glimpse of two artists at a time when they were as passionate about each another as their work.”—Publishers Weekly
“Described as ‘a Plato’s Symposium for the twenty-first century, but written for queers, transsexuals, nerds, and book geeks’, this voyeuristic, epistolary saga gives us a unique insight into the lives of two artists at a time when they were as passionate about each other as they were their work. I’m Very Into You presents us with the guilty pleasure of gossip at its very smartest.”—Dazed Digital
$52.00 - Out of stock
This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. It examines such landmark exhibitions as “Information” at The Museum of Modern Art, New York, in 1970, and the equally influential “Les Immatériaux,” initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, Paris, in 1984. It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N. E. Thing Co. to General Idea and Jenny Holzer, whose prescient grasp of information’s significance resonates today. It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries.
While information science draws distinctions between “information,” signals, and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information’s materiality, in signs, records, and traces; its immateriality, in hidden codes, structures, and flows; its embodiment, in instructions, social interaction, and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place.
Artists surveyed include
David Askevold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand & Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver Laric, Les Levine, László Moholy-Nagy, Muntadas, Erhan Muratoglu, Raqs Media Collective, Erica Scourti, Stelarc, Thomson & Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy Industries, Elizabeth Vander Zaag
James Bridle, Matthew Fuller, Francesca Gallo, Antony Hudek, Eduardo Kac, Friedrich Kittler, Arthur and Marielouise Kroker, Scott Lash, Alessandro Ludovico, Jean-François Lyotard, Charu Maithani, Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper, Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark, Benjamin Weil
About the Editor
Sarah Cook is a curator and researcher working at the intersection of art, digital and electronic media, and science. She is the coauthor (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press), and in 2004 cocurated the touring exhibition, “Database Imaginary.” She is Dundee Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee.
Softcover, 382 pages, 24 x 17 cm
Published by Distanz / Berlin
$50.00 - Out of stock
The Present in Drag is published as a companion volume to the 9th Berlin Biennale for Contemporary Art, which was curated by New York collective DIS. Providing information on the works shown in the exhibition, it also includes contributions by Roe Ethridge, Simon und Daniel Fujiwara, Boris Groys, Katja Novitskova, Chus Martinez, Bjarne Melgaard, Sean Patrick Monahan, Sabine Reitmaier, McKenzie Wark, and others.
The 9th Berlin Biennale for Contemporary Art features the work and contributions of: 69, Antoni Abad, Halil Altindere, Ei Arakawa (in collaboration with Dan Poston, Stefan Tcherepnin), Korakrit Arunanondchai/Alex Gvojic, atelier le balto, Armen Avanessian/Alexander Martos (in collaboration with Christopher Roth), åyr, Will Benedict, Julien Ceccaldi, Centre for Style
(in collaboration with Anna-Sophie Berger; Burkhard Beschow & Anne Fellner; Max Brand; Rare Candy with Alden Epp, Spencer Lai, Natasha Madden, Misty Pollen, Ander Rennick & Amber Wright; Susan Cianciolo; Marlie Mul; Liam Osborne; H.B. Peace & Kate Meakin; Joshua Petherick; Lin May Saeed; Eirik Sæther), Brody Condon, CUSS Group (in collaboration with ANGEL-HO, FAKA, Megan Mace, NTU), Kathleen Daniel, Debora Delmar Corp., Simon Denny with Linda Kantchev, Cécile B. Evans, Nicolás Fernández, Lizzie Fitch/Ryan Trecartin, Simon Fujiwara, GCC, GUAN Xiao, Calla Henkel/Max Pitegoff, Camille Henrot, Yngve Holen, Alexa Karolinski/Ingo Niermann, Kartenrecht, Josh Kline, Korpys/Löffler, Nik Kosmas, M/L Artspace, Shawn Maximo, Ashland Mines, Katja Novitskova, Trevor Paglen/Jacob Appelbaum, Juan Sebastián Peláez, Adrian Piper, Alexandra Pirici, Josephine Pryde, Puppies Puppies, Babak Radboy, Jon Rafman, Timur Si-Qin, Lucie Stahl, Hito Steyerl, TELFAR, Christopher Kulendran Thomas, Wu Tsang, Anna Uddenberg, Amalia Ulman, Anne de Vries, Abu Hajar, Halil Altindere, Math Bass, Lizzi Bougatsos & Brian DeGraw, Elysia Crampton, Lizzie Fitch/Ryan Trecartin, Isa Genzken, Juliana Huxtable, Kelela, Nguzunguzu, PATRICIA (Patricia Satterwhite, Jacolby Satterwhite, Nick Weiss), Adrian Piper, Fatima Al Qadiri, Carles Santos, Hito Steyerl, Total Freedom, Amalia Ulman, Antoni Abad, åyr/Rem Koolhaas/Hans Ulrich Obrist, Kathleen Daniel, Cécile B. Evans and Andrew Snyder-Beattie, Oleg Fonaryov and Oleksiy Radynski, Simon & Daniel Fujiwara, GCC, Boris Groys, Rob Horning, Izabella Kaminska and Simon Denny, Chus Martínez, Meredith Meredith, Sean Monahan, New Scenario, Ingo Niermann, Alexandra Pirici, Puppies Puppies, Sean Raspet, Natasha Stagg, Amalia Ulman, Sencer Vardarman, Eduardo Viveiros de Castro and Déborah Danowski in conversation with Michelle Sommer and Daniel Steegmann Mangrané, McKenzie Wark, Will Benedict, Dora Budor, Cao Fei, Roe Ethridge, Hood by Air, Bjarne Melgaard, Simon Dybbroe Møller, Zanele Muholi, Johannes Paul Raether, Torbjørn Rødland, Akeem Smith, Martine Syms, Stewart Uoo, Nina Cristante, Sabine Gottfried, Nik Kosmas, Lesley Moon, Helga Wretman, Frank Benson, Asger Carlsen, DIS, Casey Jane Ellison, Roe Ethridge, Avena Gallagher, Saemundur Thor Helgason, Tilman Hornig, Benjamin Alexander Huseby, Chris Kraus, Bjarne Melgaard, Jason Nocito, Babak Radboy, Sean Raspet, Sabine Reitmaier, Aaron David Ross, Andrew Norman Wilson, Anonymous, Anonymous, Anonymous and others.
Softcover, 408 pages, 17.8 x 26.7 cm
Published by Center for Curatorial Studies Bard College / New York Sternberg Press / Berlin
$40.00 - Out of stock
With a collection of images curated by Jenny Jaskey and Alicia Ritson
Contributions by Armen Avanessian, Elie Ayache, Amanda Beech, Ray Brassier, Mikko Canini, Diana Coole, Christoph Cox, Manuel DeLanda, Diedrich Diederichsen, Tristan Garcia, Iain Hamilton Grant, Elizabeth Grosz, Boris Groys, Graham Harman, Terry Horgan, Jenny Jaskey, Katerina Kolozova, James Ladyman, François Laruelle, Nathan Lee, Suhail Malik, Quentin Meillassoux, Reza Negarestani, John Ó Maoilearca, Trevor Paglen, Luciana Parisi, Matthew Poole, Matjaž Potrč, João Ribas, Matthew Ritchie, Alicia Ritson, Susan Schuppli, Steven Shaviro, Nick Srnicek, Achim Szepanski, Eugene Thacker, McKenzie Wark, Andy Weir
Realism Materialism Art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMAserves as a primer on “speculative realism,” considering its conceptual innovations as spurs to artistic thinking and practice and beyond. Despite their differences, these philosophical positions propose that thought can and does think outside itself, and that reality can be known without its being shaped by and for human comprehension. Today’s realisms and materialisms explicitly challenge many of the dominant assumptions of cultural practice and theoretical inquiry, opening up new domains of research and artistic inquiry.
Cutting across diverse thematic interests and modes of investigation, the thirty-five essays in RMA offer a snapshot of the emerging and rapidly changing set of ideas and practices proposed by contemporary realisms and materialisms. The book demonstrates the broad challenge of realist and materialist approaches to received disciplinary categories and forms of practice, capturing their nascent reworking of art, philosophy, culture, theory, and science, among other fields. As such, RMAexpands beyond the primarily philosophical context in which realism and materialism have developed.
Copublished with the Center for Curatorial Studies, Bard College
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