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.
$40.00 - In stock -
Texts by Domenick Ammirati and Piper Marshall
For the last two decades, Josephine Meckseper’s practice has interrogated politics, capitalism, and art history through the juxtapositions of images and objects. Drawn from the visual and material cultures of protest and political activism, advertising, cinema, and early twentieth-century display architecture, Meckseper’s works are visually confrontational yet subtle, relying on strategies of infiltration rather than explicit positions.
Central to the body of work featured in 10 minutes after is an investigation of the object as a form of “analogue recording device,” in which found materials document temporal environments or situations. Wall vitrines, shelves, denim assemblages, and abstract sculptures composed of industrial display racks become repositories of social, cultural, political, and economic significance. The window frame becomes a vehicle to convey a perspective of the world inside and outside the studio. Accumulated objects and ephemera, recycled studio materials, items salvaged from the street or obtained from now-extinct local stores are reconceived within a new series of window vitrines.
The publication features installation views from Meckseper’s recent exhibition at Timothy Taylor, a gallery of “psychoimages,” and two newly commissioned texts. Independent curator and writer Piper Marshall considers ideas of détournement, the readymade, and base materialism in Meckseper’s oeuvre, while writer and editor Domenick Ammirati explores the significance of painting and text within Meckseper’s installations.
Copublished with Timothy Taylor following an exhibition by the artist at Timothy Taylor’s Mayfair gallery October 12–December 12, 2015.
Design by Zak Group
$30.00 - In stock -
Texts by Melanie Gilligan, Jenny Jaskey, Fionn Meade, Kari Rittenbach, Piper Marshall
Descartes’ Daughter, edited by Piper Marshall, former curator of the Swiss Institute in New York, documents the critically lauded 2013 exhibition of the same name as well as continuing its ideas. Taking the historical account of philosopher René Descartes’ creation of an animatronic effigy of his deceased young daughter as its foundation, the exhibition explored the traditional divide between conceptual and expressive works, those dealing with either the mind or the body.
The reader includes five essays that explore the room in between this divide, both within the works exhibited and beyond. Fionn Meade, curator at the Walker Art Center, submits a poetic elegy to René Descartes, placing his ideas and the discussion around them at the center of this book. Jenny Jaskey, director and curator of the Artists’s Institute, writes on scale and the subjective, metabolic qualities of “human.” Piper Marshall asks how one can curate a feminist art exhibition, firmly merging the discussion.
Copublished with Swiss Institute following the exhibition“Descartes’ Daughter” (September 20–November 3, 2014), with works by Malin Arnell, Miriam Cahn, John Chamberlain, Hanne Darboven, Melanie Gilligan, Rochelle Goldberg, Nicolás Guagnini/Jeff Preiss, Rachel Harrison, Charline von Heyl, Lucas Knipscher, Jason Loebs, Ulrike Müller, Pamela Rosenkranz, Karin Schneider, and Sergei Tcherepnin.
Design by Li Inc., New York
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
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - Out of stock
The March issue of Texte zur Kunst is dedicated to Los Angeles artist Mike Kelley, who died one year ago. During the three and a half decades in which he was active as an artist, the vast majority of criticism written about Kelley—both positive and negative—was produced by members of his own generation. For them, his oeuvre constitutes an intervention into what had been the status quo. His examination of culture’s objects, practices, and narratives revealed the contradictions between hegemonic culture and socially marginal cultural forms. In doing so, the work constructed a politics embracing difference and thus suggested the potential of living and working on the fringes of, but in relation to, given norms. In contrast to its initial impact, however, for growing numbers of younger artists and writers, Kelley’s work sets the standard by which others are measured. The authors of this issue know him first and foremost as a representative of the status quo—cultural analyst, subversive, and artist-critic par excellence. Their texts engage themes that were central to Kelley’s artistic practice, thus arguing by extension that room still exists for new and contradictory evaluations of the artist’s work in relation to the frameworks of culture and its history. A tacit assumption pervades all the texts: That it is possible to recognize complex inner workings of a division of culture through the mobilization and analysis of specific examples of its products. However, given the tendency of forms and practices to be assimilated by institutions as well as to fade out of use over time, it is Kelley’s analytic methodology, rather than his individual works, which holds critical potential both now and moving forward.
Plus a picture spread by Jim Shaw and reviews from Amsterdam, Berlin, Bordeaux, Chicago, Hamburg, Munich, New York, Tokyo, and Vienna.
Exclusive new artists’ editions by Jana Euler and Tony Oursler.
Soft and Hard
Mike Kelley’s Tactile Return
A Hole, but a Flattened Down Hole
Editorial Complex (A Reconstruction)
Behind the Scenes
Narrative and Filmic Convention in Mike Kelley’s Early Videos
Here Comes the Zoo
Mike Kelley and His Audience
Mike Kelley’s Pay for Your Pleasure
Deformation, Modification, Exaggeration
More Than Could Ever Be Suppressed
A conversation about Mike Kelley between Philipp Kaiser, Jutta Koether, and Martin Prinzhorn, moderated by Oona Lochner
Moving in Circles
On Oskar Fischinger at EYE Film Museum, Amsterdam
Krebber in Bordeaux
On Michael Krebber at the CAPC musée d’art contemporain de Bordeaux
Attitude Becomes Dorm
On Trisha Baga at Greene Naftali, New York
Bonfire of the Vanities
On Rosemarie Trockel at the New Museum, New York
On Mike Kelley at the Stedelijk Museum, Amsterdam
On R.H. Quaytman at The Renaissance Society, Chicago
Louder Than a Dull Hum
On Nina Canell and Rolf Julius at the Hamburger Bahnhof, Berlin
Die individualisierte Editionsnummer besichtigt das subjektive Fenster (Bild) und guckt auf ein Stück der Welt, 2013
Softcover, 220 x 293 mm
Published by Kaleidoscope Press / Milan
$18.00 - In stock -
Kaleidoscope 16 – Fall 2012
Kaleidoscope is an international quarterly of contemporary art and culture. Distributed worldwide on a seasonal basis, it offers a timely guide to the present (but also to the past and possible futures) with an interdisciplinary and unconventional approach.
Aleksandra Domanovic by Pablo Larios; The High Line Art by Piper Marshall; Tri Angle Reocrdsa by Ruth Saxelby; Desire Machine Collective by Ulrich Baer and Sandhini Poddar; Sylvia Sleigh by Joanna Fiduccia.
DRAWINGS by Ken Price
MAIN THEME – Human After All
Part A) Prisoner of Flesh by Michele D’Aurizio; Part B) Talking to Machines by Jason Brown and Brody Condon introduces by DIS Magazine; Part C) David Altmejd by Karen Archey; Part D) Possibility Spaces by Manuel de Landa and Timur Si-Qin.
STICKERS by Alistair Frost
MONO – Frank Benson
Essay by Alessandro Rabottini; Interview by Matt Keegan.
IMAGES by Karthik Pandian
Futura: Liz Magic Laser by Hans Ulrich Obrist; Panorama: Marseille by Dorothée Dupuis; Souvenir D’Italie: Alberto Garutti by Luca Cerizza; Producers: Ariane Beyn by Carson Chan.