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.
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - Out of stock
The theme of this issue - The New New Left - is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. But as the discourses and strategies long associated with the Left (workerism, identity politics, or the mode of the avant-gardist troll) have been adopted by anti-progressive outlets, it has become increasingly complex to locate a Left stance from which to effectively speak and act. This issue explores the affective mechanisms and media strategies – from the rise of viral content (memes) to the harvesting and right-wing politicization of emotions – that are producing our post-millennial, post-financial crisis, post-Brexit/Trump present.
Issue No. 106 / June 2017 "The New New Left“
Table Of Contents
Cultural Resources / Sabine Hark And Sighard Neckel In Conversation On Feelings Of Resentment And Revenge
Fake Left, Punch Right
Unveiling And/Or Re-Masking / Notes On The Political Dialectics Of The Opacity Of The Sign
Wrong Seeing, Odd Thinking, Strange Action
Notes Toward The Memes Of Production
The Tough Stuff / “Populism," "Political Correctness," And The Like
Face The Market On Your Own
Liberté, Egalité, Beyoncé?
Europe, 2016-17 / Selected Status Updates Of Recent Months
Become What You Fear
Ana Teixeira Pinto
Artwashing / Nrx And The Alt-Right
Obsessive, Compulsive, Disorder / Johanna Burton On Douglas Crimp’s “Before Pictures”
Probing Attitudes / Philipp Ekardt On “Putting Rehearsals To The Test” (Buchmann, Lafer, Ruhm, Eds.)
In Experimenten Seine Vernunft Aufs Spiel Setzen / Stefan Römer Über Hans-Jörg Rheinberger, „Der Kupferstecher Und Der Philosoph. Albert Flocon Trifft Gaston Bachelard“
Nachrichten Aus Der Ideologischen Antike / Georg Imdahl Über Wade Guyton Im Museum Brandhorst
Schwere Verspannungen Lösen / Eva Scharrer Über Nairy Baghramian Im S.M.A.K. In Gent
Deviant Art / Dena Yago On Danny Mcdonald At House Of Gaga, Los Angeles
Put Your Money Where Your Mouth Is / Tina Schulz Über Nora Schultz Bei Isabella Bortolozzi, Berlin
Reverse Cubism Als Betrachtungsirrtum / Gunter Reski Über Pieter Schoolwerth Bei Capitain Petzel, Berlin
Mad World / Steven Warwick On Liz Craft & Pentti Monkkonen At Liszt, Berlin
Public Viewing / Moritz Scheper Über Sadie Benning In Der Kunsthalle Basel
Eye In The Sky / Ilya Lipkin On Ned Vena At Societé, Berlin
Kritische Stoffe, Shoppinglust Und Andere Ambivalenzen / Ines Kleesattel Über Ines Doujak (Und John Barker) Im Württembergischen Kunstverein
In Einem Anderem Land / Christian Kravagna Über „The Color Line“ Im Musée Du Quai Branly, Paris
Mehr Epistemischer Ungehorsam! / Susanne Witzgall Über „Postwar: Kunst Zwischen Pazifik Und Atlantik 1945–1965“ Im Haus Der Kunst, München
With Or Without / Christian Philipp Müller On Yuji Agematsu At Miguel Abreu Gallery, Nyc
Kommunikation Ist Kein Objekt / Fiona Geuß Über Ian Wilson In Den Kw Institute For Contemporary Art, Berlin
Gustav Metzger (1926–2017): Ein Nachruf Von Sabine Breitwieser
Softcover, 144 pages, 28.5 x 22 cm
Published by Walther König / Köln
$48.00 - In stock -
This publication presents de Rooj’s private collection of sportswear by Dutch designer Fong Leng.
Offering a focus on these supposedly trivial, mass-produced objects de Rooij creates groups of similar labels, colours and patterns that expose cross-references. Thus it becomes apparent that many of the surfaces recur to techniques and patterns of a wide variety of cultural spheres, such as caucasian carpets or Navajo blankets. Others seem to address sports as part activity, part status symbol.
Some of the prints and applications recall North American quilts or the specific Adiretechnique known from Ghana. The outcome of this is a contemporary discourse of fashion, gender and identity as much as within the oeuvre of Willem de Rooij.
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$31.00 - Out of stock
Exile and marginality, network availability, mass- versus subcultural identities, privilege, opting (versus dropping) out – these are elements this issue takes on. The fading of bohemia’s appeal is no doubt linked in part to a growing preference for the web’s promise of total-connectivity. Though could another factor be at work here too: an underlying sense that perhaps the real displacement and disenfranchisement after which romantic notions of “bohemia” were later formed may again be a very real threat?
ISSUE NO. 97 / MARCH 2015 “BOHEMIA”
ENGLISH CONTENTS include:
THE PHYSIOGNOMY OF DISENFRANCHISEMENT
“Faces of bohemia at one hundred and fifty”
THE POSSIBILITY OF LIFE AT THE SYSTEMIC EDGE
Three questions for Saskia Sassen
AT THE END OF ALTERNATIVES
An interview with Cornelia Koppetsch
FIORUCCI MADE ME NORMCORE / Five observations on art, style, and scenes today
BOHEMIA = UTOPIA?
HOTTEST NEW ALT MARRIAGE STACK SOLUTIONS / Paratext and Glossary by Ella Plevin
BASIC INSTINCT / Cyber-channels and the female pose
WHAT’S YOUR NAME, BOHEMIA?
THE DEATH OF ILLUSION / An interview with Noura Wedell
O CRONENBERG! (A SPOILER) / Mark von Schlegell on David Cronenberg’s recent movie “Maps to the Stars” and novel “Consumed”
Nick Zedd on Greer Lankton at Participant Inc, New York
Tess Edmonson on Amalia Ulman at James Fuentes, New York
Ana Teixeira Pinto on Oliver Laric at Tanya Leighton, Berlin
NOT ONLY THE HEART IS NOT A METAPHOR / Rachel Haidu on Robert Gober at the Museum of Modern Art, New York
TOTAL CONFUSION / Christian Naujoks on Cosima von Bonin at Mumok, Vienna
GLOOM / Amy Lien and Enzo Camacho on the Taipei Biennial 2014
A GLIMPSE AT THE SOCIAL LIFE OF PAINTINGS / Catherine Chevalier on Marcel Duchamp at Centre Pompidou, Paris
LEWIS BALTZ (1945–2014)
by Jeff Rian
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