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.
$55.00 - Out of stock
Warhol’s Factory of the 1960s, Minimalism’s assembly-line aesthetics, conceptual and feminist concern with workers’ conditions in the 1970s—these are among the antecedents of a renewed focus on the work of art: labor as artistic activity, as artistic method and as object of artistic engagement. In 2002, the “Work Ethic” exhibition curated by Helen Molesworth at the Baltimore Museum of Art took its cue from recent art to spotlight this earlier era of artistic practice in which activity became as valid as, and often dispensed with, object-production. Revealed through this prism was “dematerialized” art’s close and critical relation to the emergent information age’s criteria of management, production and skill.
By 2015, the Venice Biennale reflected artists’ wider concern with global economic and social crises, centered on exploitative and precarious worlds of employment. Yet while art increasingly engages with human travail, work’s significance in itself is seldom addressed by critics. This anthology explicitly investigates work in relation to contemporary art, surveying artistic strategies that grapple with the complexities of being an art worker in the new economy, a postproducer, a collaborator, a fabricator, a striker, an ethical campaigner, or would-be transformer of labor from oppression to liberation.
Artists surveyed include
Pawel Althamer, Francis Alÿs, Marwa Arsanios, Chto Delat, Alice Creischer, Ana de la Cueva, Anne Teresa De Keersmaeker, Jeremy Deller, Maria Eichhorn, Harun Farocki, Claire Fontaine, Andrea Fraser, Liam Gillick, Melanie Gilligan, Gulf Labour Coalition, Tehching Hsieh, Lamia Joreige, Lee Lozano, Goshka Macuga, Teresa Margolles, Adrian Melis, Annette Messager, Gustav Metzger, Jean-Luc Moulène, Ahmet Ögüt, Philip Rizk, Martha Rosler, Tino Sehgal, Santiago Sierra, Tamas St. Auby, Mladen Stilinovic, W.A.G.E., Artur Zmijewski
Claire Bishop, Luc Boltanski, Julia Bryan-Wilson, Sabeth Buchmann, Ève Chiapello, Kodwo Eshun, Silvia Federici, Isabelle Graw, Maurizio Lazzarato, Achille Mbembe, Antonio Negri, Jacques Rancière, Gerald Raunig, Dietmar Rübel, Paolo Virno, Joseph Vogl
About the Editor
Friederike Sigler is a researcher and lecturer at the Hochschule für Bildende Künste, Dresden. She is the author of Work/Strike.
Softcover, 264 pages, 15 x 23 cm
Published by Semiotext(e) / Los Angeles
$43.00 - In stock -
Translated by Giuseppina Mecchia
Originally published in Italian in 2002, When the Word Becomes Flesh provides a compelling contribution to the understanding of language and its relation to human nature and social relationships. Adopting Aristotle’s definition of the human being as a linguistic and political animal, Paolo Virno frames the act of speech as a foundational philosophical issue—an act that in its purely performative essence ultimately determines our ability to pass from the state of possibility to one of actuality: that is, from the power to act to action itself. As the ultimate public act, speech reveals itself to be an intrinsically political practice mediating between biological invariants and changing historical determinations. In his most complete reflection on the topic to date, Virno shows how language directly expresses the conditions of possibility for our experience, from both a transcendental and a biological point of view.
Drawing on the work of such twentieth-century giants as Ferdinand de Saussure, Ludwig Wittgenstein, Edmund Husserl, and Gottlob Frege, Virno constructs a powerful linguistic meditation on the political challenges faced by the human species in the twenty-first century. It is in language that human nature and our historical potentialities are fully revealed, and it is language that can guide us toward a more aware and purposeful realization of them.
About the Author
Paolo Virno is an Italian philosopher, semiologist, and a prominent figure among the Italian Postfordist thinkers. He currently teaches at the University of Rome and is the author of A Grammar of the Multitude and Multitude Between Innovation and Negation, both published in English by Semiotext(e).
$40.00 - Out of stock
The dawn of the electronic media age in the 1960s began a cultural shift from the modernist grid and its determination of projection and representation to the fluid structures and circuits of the network, presenting art with new challenges and possibilities. This anthology considers art at the center of network theory, from the 1960s to the present.
Artists have used the “space of flows" as a basis for creating utopian scenarios, absurd yet functional propositions or holistic planetary visions. Others have explored the economies of reciprocity and the ethics of generosity, in works that address changed conditions of codependence and new sites of social negotiation. The “infra-power" of the network has been a departure point for self-organized counterculture and the creation of new types of agency. And a “poetics of connectivity" runs through a diverse range of work that addresses the social and material complexity of networks through physical structures and ambient installation, the mapping of the Internet, or the development of robots and software that take on the functions of artist or curator.
Artists surveyed include
Joseph Beuys, Ursula Biemann, Heath Bunting, Critical Art Ensemble, Fernand Deligny, Peter Fend, Gego, Jobim Jochimsen, Koncern, Christine Kozlov, Pia Lindman, Mark Lombardi, Diana McCarty, Marta Minujín, Aleksandra Mir, Tanja Ostojic, Ola Pehrson, Walid Raad, Artüras Raila, Hito Steyerl, Tomaso Tozzi, Suzanne Treister, Ultra Red, Wolf Vostell, Stephen Willats
Jane Bennett, Hakim Bey, Luc Boltanski, Manuel Castells, ève Chiapello, Guy Debord, Umberto Eco, Okwui Enwezor, Michael Hardt, Bruno Latour, Marshall McLuhan, Marcel Mauss, Reza Negarestani, Antonio Negri, Sadie Plant, Lane Relyea, Craig Saper, Saskia Sassen, Pit Schultz, Steven Shaviro, Tiziana Terranova, Paolo Virno
$47.00 - Out of stock
Edited by Sylvère Lotringer and Christian Marazzi
with a new introduction by Sylvère Lotringer, "In the Shadow of the Red Brigades"
Most of the writers who contributed to the issue were locked up at the time in Italian jails.... I was trying to draw the attention of the American Left, which still believed in Eurocommunism, to the fate of Autonomia. The survival of the last politically creative movement in the West was at stake, but no one in the United States seemed to realize that, or be willing to listen. Put together as events in Italy were unfolding, the Autonomia issue—which has no equivalent in Italy, or anywhere for that matter—arrived too late, but it remains an energizing account of a movement that disappeared without bearing a trace, but with a big future still ahead of it.
Semiotext(e) is reissuing in book form its legendary magazine issue Autonomia: Post-Political Politics, originally published in New York in 1980. Edited by Sylvère Lotringer and Christian Marazzi with the direct participation of the main leaders and theorists of the Autonomist movement (including Antonio Negri, Mario Tronti, Franco Piperno, Oreste Scalzone, Paolo Virno, Sergio Bologna, and Franco Berardi), this volume is the only first-hand document and contemporaneous analysis that exists of the most innovative post-'68 radical movement in the West. The movement itself was broken when Autonomia members were falsely accused of (and prosecuted for) being the intellectual masterminds of the Red Brigades; but even after the end of Autonomia, this book remains a crucial testimony of the way this creative, futuristic, neo-anarchistic, postideological, and nonrepresentative political movement of young workers and intellectuals anticipated issues that are now confronting us in the wake of Empire. In the next two years, Semiotext(e) will publish eight books by such Italian "Post-Fordist" intellectuals as Antonio Negri, Christian Marazzi, Paolo Virno, and Bifo, as they update the theories of Autonomia for the new century.
Sylvère Lotringer, general editor of Semiotext(e), lives in New York and Baja, California. He is the author of Overexposed: Perverting Perversions (Semiotext(e), 2007).Christian Marazzi was born in Lugano, Switzerland, in 1951. He obtained a degree in Political Science at the University of Padova, a master’s degree at the London School of Economics and a doctoral degree in Economics at the City University of London. He has taught at the University of Padova, the State University of New York, and at the University of Lausanne. He is currently Director of Socio-Economic Research at the Scuola Universitaria della Svizzera Italiana.
"[The] recent reissue of Autonomia: Post-Political Politics, Semiotext(e)'s 1980 special issue on autonomia... provides a much needed historical framework for understanding the disciplined dispersion of this movement and the contemporary work of writers, such as Antonio Negri and Paolo Virno, who were formed by it."—Artforum
Softcover with dust jacket, 96 pages, 12 x 19 cm
Published by Sternberg Press / Berlin
$22.00 - Out of stock
Contributions by Luc Boltanski, Sabeth Buchmann, Tim Griffin, W. J. T. Mitchell, Sighard Neckel, Martin Saar, Paolo Virno
Under Pressure gathers together the contributions to the same-titled conference held at the Institut für Kunstkritik from 2006-07.
Starting from the premise that cultural producers are currently more exposed to external pressures, the conferences proposed that today these external constraints have to be considered as an integral part of artistic production. The aim was to discuss the value system resulting from the “New Spirit of Capitalism” and to confront theoretical models with ad-hoc conditions of production.
Can “exit” and “disobedience”, as envisioned by Virno, be considered as options from an artistic point of view? And what would an insistence on “status” or long-term projects as invoked by Boltanski/Chiapello look like if artists were to take on this strategy? How much can one count on pictures alone, as Mitchell seems to do—and, can pictures really change the “ways of worldmaking”?
Design by Surface, Frankfurt am Main/Berlin