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.
Softcover, 156 pages, 24 x 16.5 cm
Published by Walther König / Köln
$48.00 - Out of stock
Paul Thek (1933 – 1988) is the epitome of an ‘artist’s artist’ whose influence extends through to recent generations. This comprehensive exhibition comprising over 300 works and ranging across all periods of his artistic creativity, is concerned with the phenomenal influence his work continues to exert on contemporary art and his historical significance: from legendary outsider to the central figure of an art movement.
In their anti-heroic diversity and multimediality, and with their references to art, literature, and religion, his works (painting, photography, video, sculpture and installations) are among the central sources for the revolt and eruption of art in the 1960s. Published to accompany the exhibition at ZKM Karlsruhe and Sammlung Falckenberg Hamburg in 2008.
Softcover, 86 pages, 17 x 24 cm
Published by Art Against Art / Berlin
$18.00 - In stock -
London, Paris, New York, Milan, Los Angeles, Sao Paulo, Palo Alto – art is moving faster than capital like a god wind that no-one can stop let alone control. Meanwhile a lot of art writing and ‘critical theory’ is stuck in the comfort zone of the 70-90s when there actually was an avant garde or subculture.
For art writing to get back on track it needs to shake out of this nostalgia and start engaging with the nuances of what is going on by covering the new breeds of involvement that have emerged since 2009 – the new sincerities and ironies, the more subtle art practices and social variations of market participation that have developed to deal with the institutional grip. For some time an aesthetic suspension of disbelief helped to provide an alibi that allowed us to participate as if we did believe the market was the key to “validation”, but then quickly vanished into feelings of depression after any agency seemed like an impossibility. As the contradictions got wider, different problems have emerged such as whether art is concurrent with the transitional moments of our present culture or technology, or whether art altogether has reached its informational limit.
The art world has slowly transitioned from modernist pretensions that seem like delusional excuses to the public, to developing a new sensibility – one of silent, shared communion, retributions and confessions. It has taken the step into a reality that is more in keeping with the real world of business, design and branding than creating stark ‘alternatives’. Beyond short-term pragmatism and adaptability, how can artists aesthetically work alongside their authentic desire to participate in a logic of the market that by necessity must scale? How can we realistically judge the work of art institutions if they are frozen into following instrumental logics rather than relevance? With the availability of information online, there is no way these logics are not transparent to a committed internet user.
Narratives like these happened in Pop Music years ago. Just as the Music Industry had to face up to its own protocols, the Art Industry needs to be judged on its changing developments; the ways art is being used as a financial instrument, art’s new marketing techniques, art as representation of different sociological interests, art as access to power, status, fame, participation and the rest of it. Until art writing gets really into these driving forces, it won’t be able to say anything interesting about art. It also won’t be able to grow or be writing that anyone really wants to read.
Art Against Art marks a turning point – the one that says by breaking from the overbearing logic of what seems like an inevitability, we can get closer to the conceptualizations we would like society to experience but don’t.
Marion Maneker - Art is Not an Asset, It’s a Reserve Currency
Ben Vickers - Strange Objects and Their Discontents
Martin G Fuller - A Sociology of Art for Artists
Steven Shaviro - Feed
Taslima Ahmed - Left to the Mercy of Roussel
Image spread by Michael Farin
Roberto Ohrt - Needle and Balloon
Manuel Gnam - Centralization and Globalization of Art leading to One Global Hierarchy That Creates Less Options and Forms a Function of Limited Growth
Carles - Creativity vs. Scalability
Artist edition by Megan Marrin
Hardcover, 348 pages, 275 x 200mm
Published by Walther König / Köln
$68.00 - Out of stock
This is the first comprehensive monograph on the biologist who has worked as a photographer since the early 1990s.
Lempert's photography highlights the similarities between the human and animal worlds, or the ephemeral appearances of waves, flocks of birds and volcanic clouds, in surprising poetry and minimalist casualness.
The resulting formations, patterns and structures are both modest and impressive artistic documents of the living world. Lempert presents 450 of his works, mostly composed in groups and sequences, from more than 20 years of artistic production.
Published on the occasion of the exhibition at Hamburger Kunsthalle Gallery of Contemporary Art, 22 June – 29 September 2013.