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 (clothbound), 248 pages, 18.5 x 26.5 cm
Published by Sternberg Press / Berlin LUMA Foundation / Zürich Center for Curatorial Studies Bard College / New York
$46.00 - In stock -
Contributions by Amanda Beech, Rony Brauman, David Campbell, Olivia Custer, Rosalyn Deutsche, Thomas Keenan, Eric Kluitenberg, David Levine, Suhail Malik, Sohrab Mohebbi, Sharon Sliwinski, Hito Steyerl, Bernard Stiegler, Tirdad Zolghadr
It is difficult to imagine making claims for human rights without using images. For better or worse, images of protest, evidence, and assertion are the lingua franca of struggles for justice today. And they seem to come in a flood, more and more, day and night. But through which channels does the torrent pass? The Flood of Rights examines the pathways through which these images and ideas circulate—routes that do not merely enable, but actually shape human-rights claims and their conceptual background. What are the technologies and languages that structure the global distribution of humanism and universalism, and how do they leave their mark on these ideas themselves? Which narratives and imageries have proven easier to export and import, and whose interests are at stake in the configurations in question?
The Flood of Rights draws on a conference of the same name, organized by the LUMA Foundation and Center for Curatorial Studies at Bard College, which took place in Arles, France, in 2013.
Copublished with the LUMA Foundation and the Center for Curatorial Studies at Bard College, New York
Design by Zak Group
$52.00 - Out of stock
This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. It examines such landmark exhibitions as “Information” at The Museum of Modern Art, New York, in 1970, and the equally influential “Les Immatériaux,” initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, Paris, in 1984. It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N. E. Thing Co. to General Idea and Jenny Holzer, whose prescient grasp of information’s significance resonates today. It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries.
While information science draws distinctions between “information,” signals, and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information’s materiality, in signs, records, and traces; its immateriality, in hidden codes, structures, and flows; its embodiment, in instructions, social interaction, and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place.
Artists surveyed include
David Askevold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand & Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver Laric, Les Levine, László Moholy-Nagy, Muntadas, Erhan Muratoglu, Raqs Media Collective, Erica Scourti, Stelarc, Thomson & Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy Industries, Elizabeth Vander Zaag
James Bridle, Matthew Fuller, Francesca Gallo, Antony Hudek, Eduardo Kac, Friedrich Kittler, Arthur and Marielouise Kroker, Scott Lash, Alessandro Ludovico, Jean-François Lyotard, Charu Maithani, Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper, Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark, Benjamin Weil
About the Editor
Sarah Cook is a curator and researcher working at the intersection of art, digital and electronic media, and science. She is the coauthor (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press), and in 2004 cocurated the touring exhibition, “Database Imaginary.” She is Dundee Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee.
Softcover, 128 pages, 16 x 21 cm
Published by Open Editions / London
$55.00 - In stock -
Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education on the basis of neoliberal principles. In this context, there is an urgent need to conceive of alternative frameworks and methodologies of study – whether this is within, outside or at the margins of academic institutions. This book examines what is currently at stake in education through a series of conversations with artists, theorists, activists and educators who are all actively involved in developing new models of study. Ranging from self-organised learning to critical teaching methodologies, the conversations gathered here offer a resource for those interested in the renewed politicisation of education and alternative modes of pedagogy and inquiry.
With contributions by Andrea Fraser, Brian Holmes, Gal Kirn, Gerald Raunig, Judy Chicago, Melissa Gordon & Marina Vishmidt, Ruth Sonderegger, Suhail Malik, Timothy Ivison and The New Centre for Research & Practice.
Softcover, 1013 pages, 11.5 x 17.5 cm
Edition of 1500 numbered copies,
Published by Urbanomic / Cornwall
$62.00 - In stock -
Collapse Volume VIII: Casino Real
Robin Mackay (Ed.)
Philosophical Research and Development.
The wager is situated on the dividing line between pure lived action and autonomous speculation: at once an impetus toward the future, recognition of a radical novelty, risk; and, on the other hand, an attempt at domination through the imposition of order, the establishment of symmetries. Its essence, the unification of these two constitutive themes, is far from being clear.
ROBIN MACKAY - EDITORIAL INTRODUCTION
JEAN-LUC MOULÈNE - UNTITLED
AMANDA BEECH - The Church The Bank The Art Gallery
JEAN CAVAILLÈS - From Collective to Wager
STEVE FORTE - The Ultimate Cooler (Interview)
UNKNOWN ARTIST - Angel Deck with Linework
NATASHA DOW SCHÜLL - Engineering Chance
JASPAR JOSEPH-LESTER - A Guide to the Casino Architecture of Wedding
DAVID WALSH - From BlackJack to Monanism (Interview)
ANDERS KRISTIAN MUNK - Dice-Like and Distributed: Time Machines, Space Engines and the Enactment of Risk Markets
NICK LAND - Transcendental Risk
MILAN ĆIRKOVIĆ - The Greatest Gamble in History
JOHN COATES, MARK GURNELL, ZOLTAN SARNYAI - From Molecule to Market
NICK SRNICEK AND ALEX WILLIAMS - On Cunning Automata: Financial Acceleration at the Limits of the Dromological
SAM LEWITT - Notes from New Jersey
ELIE AYACHE - The Writing of the Market (Interview)
JON ROFFE - From a Restricted to a General Pricing Surface
SUHAIL MALIK - The Ontology of Finance: Price, Power, and the Arkhé-Derivative
QUENTIN MEILLASSOUX - Mallarmé's Materialist Divinization of the Hypothesis
SEAN ASHTON / NIGEL COOKE - Mr Heggarty Goes Down
GEGENSICHKOLLEKTIV - CAUTION
FERNANDO ZALAMEA - Peirce's Tychism: Absolute Contingency for our Transmodern World
MICHEL BITBOL - Quantum Mechanics as Generalised Theory of Probabilities
ELIE AYACHE - A Formal Deduction of the Market
Softcover, 408 pages, 17.8 x 26.7 cm
Published by Center for Curatorial Studies Bard College / New York Sternberg Press / Berlin
$40.00 - Out of stock
With a collection of images curated by Jenny Jaskey and Alicia Ritson
Contributions by Armen Avanessian, Elie Ayache, Amanda Beech, Ray Brassier, Mikko Canini, Diana Coole, Christoph Cox, Manuel DeLanda, Diedrich Diederichsen, Tristan Garcia, Iain Hamilton Grant, Elizabeth Grosz, Boris Groys, Graham Harman, Terry Horgan, Jenny Jaskey, Katerina Kolozova, James Ladyman, François Laruelle, Nathan Lee, Suhail Malik, Quentin Meillassoux, Reza Negarestani, John Ó Maoilearca, Trevor Paglen, Luciana Parisi, Matthew Poole, Matjaž Potrč, João Ribas, Matthew Ritchie, Alicia Ritson, Susan Schuppli, Steven Shaviro, Nick Srnicek, Achim Szepanski, Eugene Thacker, McKenzie Wark, Andy Weir
Realism Materialism Art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications on the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMAserves as a primer on “speculative realism,” considering its conceptual innovations as spurs to artistic thinking and practice and beyond. Despite their differences, these philosophical positions propose that thought can and does think outside itself, and that reality can be known without its being shaped by and for human comprehension. Today’s realisms and materialisms explicitly challenge many of the dominant assumptions of cultural practice and theoretical inquiry, opening up new domains of research and artistic inquiry.
Cutting across diverse thematic interests and modes of investigation, the thirty-five essays in RMA offer a snapshot of the emerging and rapidly changing set of ideas and practices proposed by contemporary realisms and materialisms. The book demonstrates the broad challenge of realist and materialist approaches to received disciplinary categories and forms of practice, capturing their nascent reworking of art, philosophy, culture, theory, and science, among other fields. As such, RMAexpands beyond the primarily philosophical context in which realism and materialism have developed.
Copublished with the Center for Curatorial Studies, Bard College
Design by Zak Group
Hardcover (w. cloth binding), 320 pages (134 b/w and 32 color ills.), 18.5 x 26.5 cm
Published by Sternberg Press / Berlin Center for Curatorial Studies Bard College / New York LUMA Foundation / Zürich
$48.00 - In stock -
With contributions by Ariella Azoulay, Bassam El Baroni, Roger M. Buergel, George Didi-Huberman, Michel Feher, Hal Foster, Anselm Franke, Dominique Gonzalez-Foerster, Sandi Hilal and Alessandro Petti, Maja Hoffmann, Denis Hollier, Thomas Keenan, Alex Klein, Suhail Malik, Marion von Osten, Katya Sander, Hito Steyerl, Eyal Weizman, Tirdad Zolghadr
The Human Snapshot draws upon a conference of the same name organized by the LUMA Foundation and Center for Curatorial Studies at Bard College that took place in Arles, France, in 2011. The conference contributions and subsequent essays examine contemporary forms of humanism and universalism as they circulate and are produced in art and photography. The look toward these two terms stems from theorist Ariella Azoulay’s research on the seminal exhibition “The Family of Man,” first installed at the Museum of Modern Art in New York in 1955, which she frames as a lens through which to view universalism at play. These values have been under conceptual assault in recent years, yet they continue to proliferate—even through the visual arts, where humanism and universalism are customarily dismissed. The Human Snapshot takes these themes and wrestles with their application in the use of photography, the exhibition format, contemporary democracy, human rights discourse, and the power of the image at large.
Copublished by the LUMA Foundation and the Center for Curatorial Studies at Bard College (CCS Bard)
Design by Zak Group
Softcover, 288 pages, 11 x 15 cm
Published by Sternberg Press / Berlin
$25.00 - Out of stock
Contributions by Stefano Baia Curioni, Karen van den Berg/Ursula Pasero, Isabelle Graw, Goldin+Senneby, Noah Horowitz, Suhail Malik/Andrea Phillips, Alain Quemin, Olav Velthuis
Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios maps and analyzes the complex and contested entanglements of contemporary art and its commercial markets. Contemporary art as an asset category and celebrity accessory, the rise of the art fair, and the increased competition of auction houses are among the phenomena which are discussed by academics, theoreticians, and artists. While some of the contributions show how the market’s globalization and commercialization both reflect and propel the way art is produced, presented, and perceived, others downplay the impact of these developments and argue that the market’s structure has essentially remained the same. All the essays trigger the question, what will art look like in 2022, and how will artists operate?
Contemporary Art and Its Commercial Markets is published as part of the curated project Abstract Possible: The Stockholm Synergies, taking place at Tensta konsthall, the Center for Fashion Studies at Stockholm University, and the auction house Bukowskis—all located in Stockholm—at the beginning of 2012.
This is the first publication in an ongoing series co-published by Sternberg Press and Tensta konsthall.
Design by Metahaven