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, 730 pages, 15 x 22 cm
Published by Karlsruhe University of Art and Design and the Geneva School of Art and Design / Genève Sternberg Press / Berlin
$47.00 - In stock -
Markus Miessen, Yann Chateigné (Eds.)
Contributions by Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Alexander Kluge, Joachim Koester, Armin Linke, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman, et al.
What are the processes that enable archives to become productive? Conventional archives tend to be defined through the content-specific accumulation of material, which conforms to an existing order or narrative. They rarely transform their structure. In contrast to this model of archival practice and preservation, the conflictual archive has an open framework in which it actively transforms itself, allowing for the creation of new and surprising relationships. Illustrating how spaces of knowledge can be devised, developed, and designed, this archive reveals itself as a space in which documents and testimonies open up a stage for productive dispute and struggle.
Exploring nontraditional archives, such as those of Harald Szeemann, Hans Ulrich Obrist, Sitterwerk, and the publishing house Merve, The Archive as a Productive Space of Conflict offers new perspectives on archival practice, interrogating whether archives need spatial permanence, and, if so, which design framework should be applied for the archive to take on more than a singular form of existence. The research project is a collaboration between the Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève).
Copublished with Karlsruhe University of Art and Design and the Geneva School of Art and Design (HEAD – Genève)
Design by Jonas Fechner and Lisa Naujack
Softcover, 108 pages, 11.5 x 19 cm
Published by Sternberg Press / Berlin
$24.00 - In stock -
With a preface by Armen Avanessian, an introduction by Hannes Grassegger and Markus Miessen, and a postscript by Patricia Reed
“At the heart of this book is a simple and profound proposition: to ‘do' architecture is to immerse oneself in a conflictual process of material production—participation is not a productive encounter of multiple practitioners and stakeholders, but a set of conflicts, negotiations, maneuvers, and swindles between and within a multiplicity of agents, human and nonhuman alike—equally including architects, clients, financiers, and builders, say, but also silicon, plastic, concrete, each with its conflicting aims and different material means to achieve them. Every building is thus the materialization of such encounter. So, despite the hubris of the field, none of the parties to such an encounter can ultimately control that the result—architecture (unlike real estate), according to Miessen, belongs to no one but affects and is affected by everyone—and this proposition asks that we reframe questions of ethics and politics. They can no longer be the property of an individual but a collective set of interrelations—it is through such profound departure from the terms of architecture that Miessen’s new book demands nothing less than to reimagine how we might finally become citizens.”
—Eyal Weizman, Professor of Spatial and Visual Cultures, Director of the Centre for Research Architecture, Goldsmiths, University of London
“Miessen’s new book depicts in a challenging and projective manner the problem of politics in times of conceptual indeterminacy, where ‘participation’ of the civil society seems to become the salvation for the political mess we are in, especially in Europe. Well, it is not! ‘Participation’ will not eradicate the Front National, and more transparency will not deprive Orbán of his power. Civil society will not gain power by criticizing or demonstrating loudly against the European system or chatting on the Internet. The populists have understood that if you want power, you need parties. What we risk to lose in that participatory game is representative democracy in its current shape and for no good: the majority of the street is no democracy. The post-structuralist hype for participation fuels into the mills of those who want to play la volonté de tous against la volonté generale, to go back to Rousseau: yet, the plebs killed Socrates in Athens.“
—Ulrike Guerot, political scientist, founder and director, European Democracy Lab, Berlin
Design by Zak Group
Softcover, 376 pages, 11.5 x 18.5 cm
Published by Archive Books / Berlin
$35.00 - Out of stock
The Psychopathologies of Cognitive Capitalism: Part Two is the second volume in a series which maps out the complex terrain of cognitive capitalism as an ontogeny in which its earlier phase has transitioned into a later phase that we are now beginning to experience. This volume collects together papers from a conference of the same name held at the Institute of Cultural Inquiry, Berlin, in the spring of 2013. The first part of the book delineates the recent emergence of characteristic psychopathologies of cognitive capitalism, which have resulted from the unique concatenation of social-political-psychological-economic relations that have produced distinct stresses and forms of derangement upon the factory of the brain. This leads to the second stream, referred to as “the cognitive turn”in cognitive capitalism. For example, as a result of the necessity for an efficient brain-mind to labor in the advanced and constantly accelerating conditions of the knowledge economy highly sophisticated and nuanced forms of attention have become compulsory well beyond what was considered essential in the older regimes of the modern. As such new dispositifs of normalization and governmentalization have arisen to, on the one hand, diffuse the attention necessary for multi-tasking, and on the other, to enhance the production of a hyper-attention. It is upon these and other similar conditions that this book concentrates. It calls for the identification of the causative factors of these psychopathologies as well as attempting to invent the counter conditions with which to thwart their emergence.
About the series
A series that attempts to broaden the definition of cognitive capitalism in terms of the scope of its material relations especially as it relates to the conditions of mind and brain in our new world of advanced telecommunication, data mining and social relations. It is our hope to first improve awareness of its most repressive characteristics and secondly to produce an arsenal of discursive practices with which to combat it. Published in connection with the cycle of conferences “The Psychopathologies of Cognitive Capitalism”.
Edited by Warren Neidich
Texts by Ina Blom, Arne De Boever, Pascal Gielen, Sanford Kwinter, Maurizio Lazzarato, Karl Lydén, Yann Moulier Boutang, Warren Neidich, Matteo Pasquinelli, Alexei Penzin, Patricia Reed, John Roberts, Liss C. Werner, Charles T. Wolfe
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