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.
Hardcover (cloth-bound), 272 pages, 17.5 x 24 cm
Published by Sternberg Press / Berlin
$50.00 - Out of stock
Texts by Iain Ball, Erick Beltrán, Jane Bennett, Benjamin H. Bratton, Revital Cohen & Tuur Van Balen, Erik Davis, John Durham Peters & Paul Feigelfeld, Mircea Eliade, Boris Groys, Marguerite Humeau, Timothy Morton & Emilija Skarnulyte, Boris Ondreička, The Otolith Group, Jussi Parikka, Matteo Pasquinelli, Nadim Samman, Charles Stankievech
Rare Earth is an attempt to define the spirit of an age. Exploring how today’s myths, identities, and cosmologies relate to current advances in technology—through reference to the material basis to our most developed weapons and tools; a class of seventeen rare earth elements from the periodic table—Rare Earth challenges the rhetoric of immateriality associated with our hypermodern condition.
Rare earth elements are the game-changing foundation of our most powerful innovations, are fundamental to contemporary accoutrements such as mobile phones, iPods and iPads, liquid crystal displays, LEDs, light bulbs, CDs and DVDs. Often described as conflict materials due to the limited number of easily accessible mines, they are also integral to weapon systems used for cyber-warfare, medical technologies (including MRI scanning equipment), hybrid vehicles, wind turbines, and other green energy applications. Consequently, rare earth elements play an increasing role in global affairs and power inventions that facilitate our changing self-image—giving birth to today’s emergent myths and identities.
Rare Earth grounds our strange, seemingly weightless cultural moment. While we may design our technologies, these tools and weapons shape us in turn. It may seem that we dream the contemporary into existence, but perhaps rare earth elements are dreaming through us. After the Stone Age, the Bronze Age and the Iron Age, this is the age of Rare Earth.
Copublished with Thyssen-Bornemisza Art Contemporary, Vienna on the occasion of the exhibition “Rare Earth,” February 19–May 31, 2015, with works by Iain Ball, Erick Beltrán, Julian Charriere, Revital Cohen & Tuur Van Balen, Camille Henrot, Roger Hiorns, Marguerite Humeau, Jean Katambayi Mukendi, Oliver Laric, Ursula Mayer, The Otolith Group, Katie Paterson, Charles Stankievech, Suzanne Treister, Ai Weiwei, Guan Xiao, Arseniy Zhilyaev
Design by David Rudnick and Raf Rennie
$42.00 - Out of stock
Contributions by Marie-Luise Angerer, Christoph Behnke, Ana Bogdanović, Larissa Buchholz, Sabeth Buchmann, Kathrin Busch, Bettina von Dziembowski, Daniel Falb, Paul Feigelfeld, Ulrike Gerhardt, Monica Greco, Erich Hörl, Cornelia Kastelan, Stefanie Kleefeld, Valérie Knoll, Roman Kräussl, Susanne Leeb, Hannes Loichinger, Sven Lütticken, Julia Moritz, Volker Pekron, Pierre Pénet, Dieter Roelstraete, Bettina Roggmann, Stefan Römer, Steffen Rudolph, Michael Sanchez, Magnus Schaefer, Stefanie Sembill, Christophe Spaenjers, Paul Stenner, Jeannine Tang, Olav Velthuis, Ulf Wuggenig
Peripheries are profoundly ambiguous regions. While trying to build a relationship with the center, the periphery often finds itself excluded both on a structural and actor-related level, no matter if the center-periphery model is defined in terms of space or along relations of power. However, beyond static perspectives of such struggles, in a dynamic and globalized artistic field increasingly transformed by the digital revolution, temporary mobility attractors deserve our attention.
This publication attempts to shift practices of thought toward both critical realism and new materialism. It is neither committed to today’s wishful thinking regarding horizontalized networks and deterritorialized structures, nor does it fix itself to determinist approaches. In contrast to twentieth-century constructivist approaches and their epistemic fallacies, materialized verticalities and matter-based, infrastructural spaces are brought to the fore.
This book is the result of four years of collaborative work that focused on topics of affect, the return of history, ecology, and art and its markets in today’s power law–based economies. These themes triggered not only the development of new artworks but also gave rise to reflexive discourses and discussions surrounding art theory, philosophy, sociology, and economics. The book contains a visual documentation of a number of group shows—which also included the works of winners of the Daniel Frese Prize—at Agathenburg Castle, Halle für Kunst Lüneburg, Kunstraum of Leuphana University of Lüneburg, and Kunstverein Springhornhof. The contributions by critics, curators, theoreticians, and scientists include essays and in-depth conversations.
Works by Art Club 2000, Patterson Beckwith, J. St. Bernard, Angela Bulloch, Daniel Buren, Merlin Carpenter, Gordon Castellane, Diego Castro, Nicolas Ceccaldi, Jeremiah Day, Stephan Dillemuth, John Dogg, Maria Eichhorn, Jana Euler, Loretta Fahrenholz, Renée Green, Karl Holmqvist, Gilta Jansen, Monika Jarecka, Tobias Kaspar, Carola Keitel, Jackie McAllister, Josephine Meckseper, Dirk Meinzer, James Meyer, Shana Moulton, nOffice, Christodoulos Panayiotou, Fabian Reimann, Carissa Rodriguez, Megan Francis Sullivan, Katja Staats, Simon Starling, Buffy Summers, Jan Timme, Daniela Töbelmann, Niko Wolf, Amelie von Wulffen, Phillip Zach
Copublished with Leuphana University of Lüneburg
Design and infographics by Sina Hurnik and Kerstin Warncke
Softcover, 280 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
Over the past years, Berlin has become an important center for the international production of art and theory. English is firmly entrenched as its second language, and it attracts an unending inflow of newcomers. An informal economy, ample resources of time and space, the intense debates that are said to take place here, and its bohemian aura are still crucial to its attractiveness. But doesn’t Berlin’s allure derive from expectations created by realities of the 1990s and 2000s that no longer exist? Berlin’s current remodeling in line with a representational and economic agenda was already being planned as others still put their faith in the transgressive potential of parallel “underground” worlds. It is time for an assessment without nostalgia or resignation: for a Berlin Update.
This issue of TEXTE ZUR KUNST investigates recent developments in Berlin that also stand paradigmatically for structural transformations of the art world, academia, and the general conditions of life and work. As economization and flexibilization, along with formerly ‘alternative’ project culture, are spreading to the core of institutions, the interrelation between the public sphere, the city, knowledge, and the markets changes drastically. Our authors discuss the conditions artists and curators face when working in and outside of Berlin’s art institutions; they examine the bohemian art scene’s tendency to blend into the VIP zone that has formed in recent years; they criticize the exhibition and collection politics of Berlin’s museums; and they investigate new tendencies and sites in the production of theory, art, music, and nightlife in the city. And not at last we ask what remains of the local in a globally networked (art) world.
Plus a picture spread by Calla Henkel and Max Pitegoff and reviews from Berlin, Chicago, Copenhagen, Frankfurt/M., Geneva, New York, Siegen, Stuttgart, and Zurich. Exclusive new artists’ editions by Axel Hütte and K.O. Götz.
“The Myth of Remoteness from the Market. Notes on Berlin’s Rise as an Art Metropolis”
“Under the Shadow of Projects”
A roundtable discussion with Heike-Karin Föll, Juan Gaitán, Christoph Gurk and Florian Wüst, moderated by Philipp Ekardt and Hanna Magauer
Susanne von Falkenhausen
“Statement on the Exhibition and Collection Politics of the Berlin National Gallery”
A survey with Barbara Wittmann, Alexander García Düttmann, Frank Ruda, Peter Geimer and Maria Muhle
“The New Pragmatists. On Times and New Theater”
“Blackout. On White Material Records”
“The Cloud Over Berlin. Two Remarks on the Archaeology and Present of Digital Rights”
“On the Significance of Textiles in Contemporary Thought and Praxis”
A survey by S. Buchmann and R. Frank with T. Smith, A. Mendizabal, M. Kapustka/A. Reineke/A. Röhl/T. Weddigen, J. Raum, L. Antunes, K. Kouoh, I. Below
“Where Failure is Proof of Wrongdoing”
On The Essential Ellen Willis
“The Place Beyond One’s Prime”
On Timothy Davies at Sandy Brown, Berlin
On Faith Wilding at Threewalls, Chicago
Andrew Stefan Weiner
“Photoconceptualism Pure and Impure”
On Christopher Williams at the Art Institute of Chicago
“Growers and Showers”
On Eddie Peake at Peres Projects, Berlin
“Titles and Compositions”
On Rosemarie Trockel at Gladstone Gallery, New York
“A Retrospective With Eight Legs”
On Superflex at Kunsthal Charlottenborg, Copenhagen
“The Costliness of Our Attachments”
On Bad Conscience at Metro Pictures, New York
On Macho Man, Tell It To My Heart at Artists Space, New York
Alena J. Williams
“Productive Estrangements. Remembering Nancy Holt (1938–2014)”
Ca’Corner della Regina-3, 2012/2014
Siekri 12, 2014