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.
$40.00 - In stock -
Sabeth Buchmann, Ilse Lafer, Constanze Ruhm (Eds.)
Putting Rehearsals to the Test
Practices of Rehearsal in Fine Arts, Film, Theater, Theory, and Politics
Contributions by Rainer Bellenbaum, Vincent Bonin, Sabeth Buchmann, José M. Bueso, Kathrin Busch, Stefanie Diekmann, Kai van Eikels, Stephan Geene, Richard Ibghy, Ekkehard Knörer, Eva Könnemann, Ilse Lafer, Christine Lang, Susanne Leeb, Marilou Lemmens, Achim Lengerer, Annemarie Matzke, Jenny Nachtigall, Silke Otto-Knapp, Avital Ronell, Constanze Ruhm, Martin Jörg Schäfer, Dorothea Walzer
Although the format of the rehearsal is used across a number of disciplines—film and theater as well as fine arts—it has been scarcely considered in historical and contemporary art discourses. With this in mind, Putting Rehearsals to the Test investigates the role and function of the rehearsal as a methodology, modus operandi, medium, site of representation, and reflection on processes of artistic production. As the contributions in this book show, practices of rehearsal put those procedures—sometimes joyful, sometimes troublesome but structurally productive—into the foreground to replace given conventions and regulations with new forms and rules. Shaping working processes (the in-the-making) and products (the making-of) without defined aims and ends, artists, activists, and theorists working with strategies of rehearsal focus on moments of contingency, interruption, recommencement, irregular repetition, uncertainty, and failure within existing systems. Practices of rehearsal, in attempting to transform asymmetric labor divisions, appear as links between aesthetic judgment and social or institutional critique. This book is a critical and timely reappraisal of the methodologies of the rehearsal, and makes a claim for the aesthetic and political potential in the unfinished project.
Publication Series of the Academy of Fine Arts Vienna, vol. 19
Design by Surface
$55.00 - Out of stock
Warhol’s Factory of the 1960s, Minimalism’s assembly-line aesthetics, conceptual and feminist concern with workers’ conditions in the 1970s—these are among the antecedents of a renewed focus on the work of art: labor as artistic activity, as artistic method and as object of artistic engagement. In 2002, the “Work Ethic” exhibition curated by Helen Molesworth at the Baltimore Museum of Art took its cue from recent art to spotlight this earlier era of artistic practice in which activity became as valid as, and often dispensed with, object-production. Revealed through this prism was “dematerialized” art’s close and critical relation to the emergent information age’s criteria of management, production and skill.
By 2015, the Venice Biennale reflected artists’ wider concern with global economic and social crises, centered on exploitative and precarious worlds of employment. Yet while art increasingly engages with human travail, work’s significance in itself is seldom addressed by critics. This anthology explicitly investigates work in relation to contemporary art, surveying artistic strategies that grapple with the complexities of being an art worker in the new economy, a postproducer, a collaborator, a fabricator, a striker, an ethical campaigner, or would-be transformer of labor from oppression to liberation.
Artists surveyed include
Pawel Althamer, Francis Alÿs, Marwa Arsanios, Chto Delat, Alice Creischer, Ana de la Cueva, Anne Teresa De Keersmaeker, Jeremy Deller, Maria Eichhorn, Harun Farocki, Claire Fontaine, Andrea Fraser, Liam Gillick, Melanie Gilligan, Gulf Labour Coalition, Tehching Hsieh, Lamia Joreige, Lee Lozano, Goshka Macuga, Teresa Margolles, Adrian Melis, Annette Messager, Gustav Metzger, Jean-Luc Moulène, Ahmet Ögüt, Philip Rizk, Martha Rosler, Tino Sehgal, Santiago Sierra, Tamas St. Auby, Mladen Stilinovic, W.A.G.E., Artur Zmijewski
Claire Bishop, Luc Boltanski, Julia Bryan-Wilson, Sabeth Buchmann, Ève Chiapello, Kodwo Eshun, Silvia Federici, Isabelle Graw, Maurizio Lazzarato, Achille Mbembe, Antonio Negri, Jacques Rancière, Gerald Raunig, Dietmar Rübel, Paolo Virno, Joseph Vogl
About the Editor
Friederike Sigler is a researcher and lecturer at the Hochschule für Bildende Künste, Dresden. She is the author of Work/Strike.
2016, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - In stock -
Issue #104 of TzK examines a key protagonist of the modern age: the individual. As our cover suggests, there is an inherent tragedy to this being who, however autonomous, is beholden to a program that it must internalize at the price of suffering enormously. This issue takes up the individual not as a fixed subject, but as a mode of the self that shifts according to the current form of governance, asking how 15-some years of the "new spirit of capitalism" has shaped her – as an artist, as an entrepreneur, as a "productive" contemporary self.
ISSUE NO. 104 / DECEMBER 2016 “THE INDIVIDUAL”
TABLE OF CONTENTS
INVEST YOURSELF! / Wendy Brown in conversation with Isabelle Graw
FROM THE ONE TO THE MANY
CAN THE ENTREPRENEURIAL SELF TWEET? / An interview with Ulrich Bröckling
BUFFERING OF THE SELF: GUISING IN THE MID-’00S / Storm van Helsing, André Rottmann, Sarah Nicole Prickett, Reena Spaulings, @lilinternet, i.i.i., Luther Blissett -- on -- Luther Blissett, JT LeRoy, Reena Spaulings, @lonelygirl15, Claire Fontaine, An Hero, Lee Williams, and Strom van Helsing
SPEECH GESTURES / Notes on the individual and the socialization of language after Gutenberg
PRODUCING INDIVIDUALITY / The Artist among his Contemporaries
I’M NOT PUNK / Alex Israel in conversation with Texte zur Kunst
FEEDBACK FÜR BLINDE FLECKE / Karin Gludovatz über „Jenseits des Spiegels. Das Sehen in Kunstgeschichte und Visual Culture Studies“ von Susanne von Falkenhausen
WORLD WIDE WEB / Anthony Vidler on Felicity D. Scott’s “Outlaw Territories”
LIEBE ARBEIT KINO
LANGSAMER ABSCHIED / Esther Buss über Albert Serras „La mort de Louis XIV“
DAS SICH SELBST TRÄUMENDE INTERNET / Sulgi Lie über Werner Herzogs „Lo and Behold. Reveries of the Connected World“
SHARING ANGST / Gaby Tront on Anne Imhof's "Angst II" at Hamburger Bahnhof, Berlin
Mikael Brkic on Alex Israel at the Astrup Fearnley Museum, Oslo / Steven Warwick on Morag Keil at Eden Eden, Berlin / Hanna Magauer über Dana Schutz bei Contemporary Fine Arts, Berlin / Tonio Kröner über Amelie von Wulffen in der Galerie Barbara Weiss, Berlin / Kari Rittenbach on Margaret Lee at Jack Hanley Gallery, New York / Susanne von Falkenhausen über „Die zu sein scheint, die bin ich.“ Birgit Jürgenssen, Cindy Sherman, Katharina Sieverding und Francesca Woodman in der Galerie Thomas Schulte, Berlin
INDIVIDUELLER ORIENT / Diedrich Diederichsen über Michael Buthe im Haus der Kunst, München
ÜBERBLENDUNGSVERHÄLTNISSE / Sabeth Buchmann über Ellen Cantor im Künstlerhaus Stuttgart
… MY MERE SELF / Rachel Haidu on Kai Althoff at the Museum of Modern Art, New York
DIE KUNST DER STUNDE / Susanne Leeb über Kader Attia im Museum für Moderne Kunst, Frankfurt / M.
RUBY STERLING ZEIGT STERLING RUBY / Tanja Widmann und Inka Meißner über Sterling Ruby im Winterpalais Wien
DAS VIRTUELLE IM PHYSISCHEN / Hanne Loreck über Katrin Mayer und Eske Schlüters in der Kunsthalle Lingen
WHY BOTHER WITH SHOW BUSINESS? / Bosko Blagojevic on Antek Walczak at Real Fine Arts, New York
WERKE / Nikola Dietrich über Karl Holmqvist und Klara Lidén im Kunstverein Braunschweig
BIRD OF PARADISE / Frank Wagner (1958–2016) in the words of Julie Ault
COSIMA VON BONIN
2015, English / German
Hardcover, 312 pages (47 b/w and 128 color ill.), 20 x 24.5 cm
1st edition, Out of print title / New,
Published by Generali Foundation / Vienna Museum Abteiberg / Mönchengladbach Sternberg Press / Berlin
$90.00 - Out of stock
In collaboration with Sabine Folie, Georgia Holz, Susanne Titz
Texts by Elissa Auther, Sabeth Buchmann, Rike Frank, Judith Raum, Seth Siegelaub, T’ai Smith, Georg Vasold, Leire Vergara, Grant Watson
One essential characteristic of textiles is their richly intertextual nature. Their contemporary appeal and historicity derive from their place in the history of art and culture as well as in the history of media, society, and technology. Representing traditions found in both applied and fine arts, textiles hover between formalism and functionalism; as objects and techniques, they mediate between relations to the self and relations to the world, between affect-driven and knowledge-driven processes of appropriation. Functionally versatile—as objects of utility and media of an abstract (visual) language—textiles read as the fulcrum of an ensemble of activities, and illustrate specific entanglements that, since the beginning of modernity, have transformed the relations between subject and object, the material and the immaterial, artistic and artisanal labor, and different cultures.
This publication examines the referential and analytical qualities of textiles through both contemporary and historical works. The contributions in this book reflect on the complex interplay between the various functions and connotations of textiles—such as the emphasis on their tactile qualities or the artistic value attributed to them—and the attendant conflicts and antagonisms that articulate relations of power and value and of the interaction of artistic processes with their overarching contexts.
Textiles: Open Letter stems from an exhibition at the Museum Abteiberg, Mönchengladbach, and a research project (2010–14) initiated by Rike Frank and Grant Watson. Including the following artists; Magdalena Abakanowicz, Anni Albers, Carl Andre, Leonor Antunes, Tonico Lemos Auad, Thomas Bayrle, Jagoda Buic, Heinrich Clasing, Yael Davids, Sofie Dawo, Ria van Eyk, Hans Finsler, Elsi Giauque, Sheela Gowda, Eva Hesse, Sheila Hicks, Loes van der Horst, Johannes Itten, Elisabeth Kadow, Paul Klee, Benita Koch-Otte, Heinrich Koch, Beryl Korot, Konrad Lueg, Agnes Martin, Katrin Mayer, Cildo Meireles, Kitty van der Mijll Dekker, Nasreen Mohamedi, Walter Peterhans, Edith Post-Eberhardt, Josephine Pryde, Florian Pumhösl, Grete Reichardt, Elaine Reichek, Willem de Rooij, Desirée Scholten, Johannes Schweiger, Gunta Stölzl, Lenore Tawney, Rosemarie Trockel
Copublished with Generali Foundation, Vienna, and Museum Abteiberg, Mönchengladbach
Design by Martha Stutteregger
Now out of print.
Softcover (w. dust jacket), 292 pages, 12 x 19 cm
Published by Sternberg Press / Berlin
$26.00 - In stock -
Painting beyond Itself
The Medium in the Post-medium Condition
Isabelle Graw, Ewa Lajer-Burcharth (Eds.)
Contributions by Carol Armstrong, Benjamin H. D. Buchloh, Sabeth Buchmann, René Démoris, Isabelle Graw, David Joselit, Jutta Koether, Ewa Lajer-Burcharth, Jacqueline Lichtenstein, Julie Mehretu, Matt Saunders, Amy Sillman
In response to recent developments in pictorial practice and critical discourse, Painting beyond Itself: The Medium in the Post-medium Condition seeks new ways to approach and historicize the question of the medium. Reaching back to the earliest theoretical and institutional definitions of painting, this book—based on a conference at Harvard University in 2013—focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity. Myriad conceptions of the medium and its specificity are explored by an international group of scholars, critics, and artists. Painting beyond Itself is a forum for rich historical, theoretical, and practice-grounded conversation.
Institut für Kunstkritik Series
Design by Surface
Softcover, 272 pages, 13 x 21 cm
Published by Valiz / Amsterdam
$42.00 - Out of stock
Is art criticism losing ground, because of the internet and art blogs? Do people consider the authoritative art critics as their most important source to assess and filter what they want to see, read, etc.? Most recent discussions have evolved around the question "What is art criticism?", this book wants to explore the question "Where is art criticism?". It delves into new ways and spaces where art critics might interact with publics, works of art, artists and scholars.
Contributions by Luc Boltanski, Sabeth Buchmann, Robin Celikates and more...
Designed by Metahaven
Softcover, 342 pages, 14.8 x 21 cm
Published by Sternberg Press / Berlin
$38.00 - In stock -
With contributions by Jennifer Allen, Sabeth Buchmann, Annett Busch, Nils Büttner, Marcus Coelen, Discoteca Flaming Star, Helmut Draxler, Felix Ensslin, Mechthild Fend, Susanne Leeb, Christoph Menke, Frank Ruda, Jan de Vos, Charles T. Wolfe
Word becomes flesh, God becomes pigment, beauty becomes empirical form, power negotiates itself in matter—and vice versa: these are some of the connotations carried by the aesthetics of the flesh.
Flesh has been negotiated with the incarnate, the skin-like surface of paint transcends its material condition toward the embodiment of spirit. But flesh is also, for example, behind the postcolonial metaphor of anthropophago (i.e., incorporating multiple cultural traditions that are at war with each other). It can be further associated with the material of surgery, itself an heir to contradictory impulses—namely, the discourse of modern aesthetics on the one hand, and of a positivist, even naïve scientism on the other. Flesh is the topos of a thought that is unthinkable and the amoral site where force is creative. Philosophically, these primal scenes of the flesh are grouped by Descartes, and also in the radical enlightenment of philosophical materialism. Following on from Cartesian dualism, philosophy is faced with the task of valorizing the flesh beyond the religious support of incarnation. Finally, the never-ending thought which sees the flesh as an unattainable other appears—always present in its absence in each and every aesthetic discourse.
This reader, based on a three-day symposium at the State Academy of Fine Arts, Stuttgart, traces the aesthetic concept of flesh in four sections: “Cut Power Matter,” “Form Cannibalism,” “Flesh Skin Surface,” and “Word Flesh Thought.” From perspectives as diverse as art history, religion, psychoanalysis, psychology, materialist philosophy, phenomenology, surgery, film studies, and literary studies, the articles present this concept, while at the same time showing how it surpasses the attempts to systematize or define it.
Design by Matthias Christ, Philipp Schmidt, Stuttgart
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
ISSUE NO. 100
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
MORE MANNERISM / Ruth May and Jan Molzberger
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
POST-INTERNET: THE NEW ORDER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
PAMELA M. LEE
TOWARD A CANONIC FREEDOM
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
GREAT & SMALL
CANON OF EXISTENCE, ETHICS OF THE BREAK
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015) by Tim Griffin
PETER FISCHLI/DAVID WEISS
$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