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 -
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
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - In stock -
ISSUE NO. 105 / MARCH 2017 “THEY ARE US / WIR SIND IHR”
With Issue #105, TZK considers the nationalist, conservative, and racist ideologies that have recently become more visible across Europe and the US, giving particular focus to questions of border politics and migration -- of humans, of data, of patrimony, of signs. Advised by Helmut Draxler, Isabelle Graw, and Susanne Leeb, this issue was conceived prior to the US presidential election as a cooler reflection on present political debates. And yet having been produced amid the chaos of the Trump administration's first weeks, it also necessarily stands as a reflection of political-aesthetic thinking during markedly volatile times: Wir sind Ihr? They are us? We are them?
TABLE OF CONTENTS:
BUT WHO IS “THEY”? / Roundtable discussion with Manuela Bojadžijev, Nikita Dhawan, and Christoph Menke, moderated by Helmut Draxler on Refugee and Migrant Flows as a Challenge for Political Thought
OVERCOMING MUTE RELATIONS, OR, THINKING WITH YOUR FEET / Angela Melitopoulos in conversation with Susanne Leeb
HALFTIME VIBES / John Kelsey on Meditations in an Emergency
WEDER WOHNUNG NOCH WÄHRUNG / Diedrich Diederichsen über den Intendantenwechsel an der Berliner Volksbühne
BEGEHREN IN BETON / Benjamin Meyer-Krahmer über die Feuerle -Collection
LIEBE ARBEIT KINO
OF DREAMS, LIES, AND WIRES / Tom McDonough on Adam Curtis’s “HyperNormalisation”
MEDIALER GESTUS / Rainer Bellenbaum über Douglas Gordons Film „I Had Nowhere to Go“
EU DESESPERO E ABRAÇO A TUA AUSÊNCIA: “AQUARIUS” OR CINEMA AFTER NEO-FASCISM / Daniel R. Quiles on Kleber Mendonça Filho’s “Aquarius”
FAST UNANGENEHM DEUTLICH / Anke Dyes und Anna Voswinckel über Jill Soloways Fernsehserie „I love Dick“
MACH ES NICHT SELBST / Daniel Loick über „Staying with the Trouble. Making Kin in the Chthulucene“ von Donna Haraway
(POST-)EMPIRE STATE OF MIND / Emily Segal on Cat Marnell’s “How to Murder Your Life”
RELEVANTE UPDATES / Christian Egger über Raymond Pettibon im Museum der Moderne Salzburg
Micaela Durand on Heji Shin at Real Fine Arts, New York / Arne Schmitt über Candida Höfer im Neuen Berliner Kunstverein / Hans-Jürgen Hafner über Peter Duka bei Zwinger Galerie / Ana Finel Honigman on Dan Attoe at Peres Projects, Berlin / Tina Schulz über Willem Oorebeek im Magazin 4 in Bregenz
ZUCKER UND SHAME / Ulrike Bergermann über „Deutscher Kolonialismus“ im Deutschen Historischen Museum, Berlin
MODELS AND AGENCIES / Ben Caton on “The Ulm Model” at Raven Row, London
ART HISTORY, REMASTERED / Abbe Schriber on Kerry James Marshall at the Met Breuer, New York
AESTHETICIZED PLAY / Stefaan Vervoort on Ludger Gerdes at the Museum Haus Lange, Krefeld, Germany
NACHRUFE / OBITUARIES
BARBARA WEISS (1960–2016)
by Monika Baer and John Miller
by Andreas Siekmann
JOHN BERGER (1926–2017)
by Tom Holert
by Svetlana Alpers
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
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
$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
Softcover, 272 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
With the title of “Globalism,” this year’s September issue of Texte zur Kunst proposes a critique of the discourse on “Global Art” as it has emerged in the wake of economic globalization. The main questions are: Does a global world need Global Art—or—does a globalized world produce globalized art? What, precisely, is the difference between these two phrases, between making a political claim and the economic structure? When did the term “Global Art” become the assertion of a “contemporary world art” that is composed along the lines of global economization, and what possible alternatives and other historiographies exist? Where do the potentials and surpluses of the global lie, if we grasp them as a political horizon of common action—no matter how inherently contradictory that notion may be? Is the current pervasiveness of “Global Art” in exhibition titles, conferences, funding programs, and their implementation in study courses symptomatic of a (self-)surmounting of the Global North? Or does it indicate a universalization of its concepts of art that remain linked to capitalism’s colonizing power of definition?
Instead of accepting “Global Art” as a new category of covert European and Western self-definition, we would like to cast a view on a differentiated and pluralized notion of the “Global” on the possibility of writing the narrative of art as transnational entangled histories, and of bringing the exchange relations between actors from different regions of the world to the fore. Such a perspective also affects the attention paid to the transnational effects of capitalist crises in the Northwest and the ongoing political scenarios of upheaval in the “Middle East.” In light of this persistent global multitude of crises, one must also discuss the question as to the role of art and of artists beyond regionalist structures of advantage and prejudice. Instead of establishing new patterns of dominance with the world-spanning gesture of a Global Art, then, talk of the global in art should challenge not only one’s knowledge of what is distant, but also one’s own practice as the globality of what is close by.
Plus a picture spread by Sophie-Therese Trenka-Dalton and reviews from Beijing, Berlin, London, Los Angeles, Lüneburg, Munich, Münster, Oporto, Santa Barbara, Stuttgart, and Vienna.
Exclusive new artists’ editions by Annette Kelm and Matthias Weischer.
Response to Susanne Leeb: Some Thoughts on the Uncomfortable Timeliness of Ethnological Museums
Sylvester Okwunodu Ogbechie
Response to Susanne Leeb: Contemporary Art, Ethnology Museums and Relational Politics
an email-conversation between
Kerstin Stakemeier, Maurizio Lazzarato, and Sarah Rifky
No New “New Deal”
The Small Aesthetic Difference
Toward a Postcolonial Art History of Contact
Marion von Osten and Sarat Maharaj in conversation
The Surplus of the Global
Johannes Paul Raether and Eva Birkenstock
Amilcar Packer, Zoe Zhang, Dmitry Vilensky, and Raqs Media Collective
A Dance of Growth and Terror
On Liz Magic Laser at Westfälischer Kunstverein Münster
Pedro de Llano
The Periphery of the Others is Our Center
On Daniel Steegman at Uma certa falta de coerência, Oporto
Working Mothers of Invention
On My Barbarian at Susanne Vielmetter Los Angeles Projects
Globalism in Reverse
On Wang Xingwei at UCCA, Beijing
A Dandy Flavor
On “Notes on Neo-Camp” at Studio Voltaire, London
Soft and Entitled
On Dasha Shishkin at MCA, Santa Barbara
The Formalities of Curating
On “The Content of Form” at the Generali Foundation and “Unrest of Form. Imagining the Political Subject” at the Secession, both Vienna
Untitled (TZK), 2013