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.
$55.00 - Out of stock
The effects and meanings of destruction are central to the work of many of our most influential artists. Since the early 1960s, artists have employed destruction to creative ends. Here destruction changes from a negative state or passive condition to a highly productive category. The destructive subversion of media imagery aims to release us from its controlling effects. The self-destructing artwork extinguishes art’s fixity as arrested form and ushers in the ephemeral and contingent "open work."
This anthology explores artworks that convey the threat of destruction an how they have disrupted the perceived integrity of built structures and institutions. Artistic acts of iconoclasm or risk to the self have raised consciousness of authoritarian oppression. More understated works explore the theme of destruction in armed conflict, media violence, and threats to the environment. These text make up the first collection to be focused systematically on destruction in modern and contemporary art.
Artists surveyed include
Ai Weiwei, John Baldessari, Monica Bonvicini, Alexander Brener, Stuart Brisley, Douglas Gordon, Huang Yong Ping, Enrique Jezik, Milan Knizak, Paul McCarthy, Piero Manzoni, Gordon Matta-Clark, Gustav Metzger, Otto Mühl, Yoko Ono, Raphael Montañez Ortiz, Petr Pavlensky, William Pope.L, Walid Raad, Arnulf Rainer, Robert Rauschenberg, Carolee Schneemann, Song Dong, Jean Tinguely, Wolf Vostell
Alain Badiou, Walter Benjamin, Horst Bredekamp, Carolyn Christov-Bakargiev, Medina Cuauthémoc, Dario Gamboni, Richard Galpin, Caleb Kelly, Bruno Latour, Sven Lütticken, Antonio Negri, Sophie O’Brien, Kristine Stiles, Jennifer Walden
About the Editor
Sven Spieker is Professor of Germanic and Slavic Studies at the University of California, Santa Barbara, and editor of ARTmargins. His books include The Big Archive: Art from Bureaucracy (MIT Press).
$20.00 - In stock -
F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.
Includes: Michael Asher, Joan Didion, Harun Farocki, Sven Lütticken, Lucy Lippard, Barbara Guest, A.H. Nijhoff, Will Holder, Pauline Oliveros, and many more.
$34.00 - Out of stock
Contributions by Carl Andre, Charles Baudelaire, Walter Benjamin, Barbara Bloemink, Jan Boelen, Louise Bourgeois, Sheldon Cheney and Martha Candler Cheney, Alex Coles, Anthony Dunne and Fiona Raby, Hal Foster, Sigmund Freud, Dan Graham, Isabelle Graw, Sebastian Hackenschmidt and Dietmar Rübel, Graham Harman, G. W. F. Hegel, Martin Heidegger, Dave Hickey, Matthew Higgs, Donald Judd, Immanuel Kant, Frederick J. Kiesler, Sven Lütticken, Alessandro Mendini, W. J. T. Mitchell, Jasper Morrison, Bruno Munari, Robert Nickas, Alice Rawsthorn, Jeff Rian, Richard Rinehart, Anthony Vidler
This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things. Devised largely in response to the gradual breakdown of the divide between art and design that began over a century ago, this book sheds light on the ways that the concept of the thing as idea has been considered over time. Writers from different fields explore how things interact with materials, structures, and production processes while defining and registering the intangible qualities of the material world. Each author considers the different relationships between the context of a thing and its thingness, describing the ways in which things and ideas intersect.
Copublished with MUDAM Luxembourg
Design by Florence Richard
Softcover, 14 x 21.5 cm, 184 pages
Published by Sternberg Press / Berlin
$33.00 - In stock -
In this collection of essays, art historian and critic Sven Lütticken focuses on aesthetic practice in a rapidly expanding cultural sphere. He analyzes its transformation by the capitalist cultural revolution, whose reshaping of art’s autonomy has wrought a field of afters and posts. In a present moment teeming with erosions—where even history and the human are called into question—Cultural Revolution: Aesthetic Practice after Autonomy reconsiders these changing values, for relegating such notions safely to the past betrays their possibilities for potential today.
Lütticken discusses practices that range from Black Mask to Subversive Aktion, from Krautonomy to Occupy, from the Wet Dream Film Festival in the early 1970s to Jonas Staal’s recently established New World Academy. Within these pages Scarlett Johansson meets Paul Chan, Walid Raad, and Hito Steyerl, and Dr. Zira from Planet of the Apes mingles with the likes of Paul Lafargue and Alexandre Kojève.
Design by Surface
Softcover, 248 pages, 15 x 22 cm
Published by Sternberg Press / Berlin
$36.00 - In stock -
Edited by Natasha Ginwala
The Contour Biennale 8, “Polyphonic Worlds: Justice as Medium,” curated by Natasha Ginwala, brings together twenty-five international and local artists and art collectives working in lens-based media, sound, performance, drawing, and installation, to address questions related to the nation-state system and the realm of justice today. Taking place in Mechelen, Belgium, “Polyphonic Worlds” embraces the communal spirit of the biennale by including the many-sided voices that assemble in collective formations as well as discrete, individual creative positions.
This reader proposes a series of beginnings—it is a polyphonic approach that borrows from juridical and musical spheres. Launched as the online journal of the biennial, Hearings pairs texts or image-based contributions, allowing for a sense of tension and affinity to develop in the feedback loop of the two voices. Relationships around the artwork as site of evidence and testimony are thus reoriented. The multidimensional readings are not restricted to the active apparatus of law and discipline, but instead seek to unravel the synchronies of our times—the mesh of injustice in our midst.
Featuring texts and illustrated contributions by Agency, Lawrence Abu Hamdan, Eric Baudelaire, Rossella Biscotti, Hunter Braithwaite and Trevor Paglen, Filipa César, Cooking Sections, Council, T. J. Demos, Denise Ferreira da Silva, Pedro Gómez-Egaña, Rana Hamadeh, Louis Henderson, Adelita Husni-Bey, Ho Tzu Nyen, inhabitants, Arvo Leo, Sven Lütticken, Basir Mahmood, Samuel Mareel, Dirk de Meyer, Otobong Nkanga, Pallavi Paul and Anish Ahluwalia, Elizabeth A. Povinelli, Judy Radul, Beatriz Santiago Muñoz, Ritu Sarin and Tenzing Sonam, Madonna Staunton, Ana Torfs, Trinh Thi Nguyen, Susanne M. Winterling and Gayatri Chakravorty Spivak, and Ghassan Zaqtan.
Copublished with Contour Biennale on the occasion of Contour Biennale 8: “Polyphonic Worlds: Justice as Medium” (March 11–May 21, 2017).
Design by Studio Remco van Bladel
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
$50.00 - Out of stock
Without boredom, arguably there is no modernity. The current sense of the word emerged simultaneously with industrialization, mass politics, and consumerism. From Manet onwards, when art represents the everyday within modern life, encounters with tedium are inevitable. And starting with modernism’s retreat into abstraction through subsequent demands placed on audiences, from the late 1960s to the present, the viewer’s endurance of repetition, slowness or other forms of monotony has become an anticipated feature of gallery-going.
In contemporary art, boredom is no longer viewed as a singular experience; rather, it is contingent on diverse social identifications and cultural positions, and exists along a spectrum stretching from a malign condition to be struggled against to an something to be embraced or explored as a site of resistance. This anthology contextualizes the range of boredoms associated with our neoliberal moment, taking a long view that encompasses the political critique of boredom in 1960s France; the simultaneous aesthetic embrace in the United States of silence, repetition, or indifference in Fluxus, Pop, Minimalism and conceptual art; the development of feminist diagnoses of malaise in art, performance, and film; punk’s social critique and its influence on theories of the postmodern; and the recognition, beginning at the end of the 1980s, of a specific form of ennui experienced in former communist states. Today, with the emergence of new forms of labor alienation and personal intrusion, deadening forces extend even further into subjective experience, making the divide between a critical and an aesthetic use of boredom ever more tenuous.
Artists surveyed include:
Chantal Akerman, Francis Alÿs, John Baldessari, Vanessa Beecroft, Bernadette Corporation, John Cage, Critical Art Ensemble, Merce Cunningham, Marcel Duchamp, Fischli & Weiss, Claire Fontaine, Dick Higgins, Jasper Johns, Donald Judd, Ilya Kabakov, Boris Mikhailov, Robert Morris, John Pilson, Sigmar Polke, Yvonne Rainer, Robert Rauschenberg, Ad Reinhardt, Gerhard Richter, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Faith Wilding, Janet Zweig
Ina Blom, Nicolas Bourriaud, Jennifer Doyle, Alla Efimova, Jonathan Flatley, Julian Jason Haladyn, The Invisible Committee, Jonathan D. Katz, Chris Kraus, Tan Lin, Sven Lütticken, John Miller, Agné Narušyté, Sianne Ngai, Peter Osborne, Patrice Petro, Christine Ross, Moira Roth, David Foster Wallace, Aleksandr Zinovyev
About the Author
Tom McDonough is Associate Professor of Art History at Binghamton University, State University of New York. He is the author of “The Beautiful Language of My Century”: Reinventing the Language of Contestation in Postwar France, 1945–1968 (MIT Press)
From the "Documents of Contemporary Art" series.
Softcover (stapled), 64 pages (colour & bw ill>), 21 x 27 cm
Published by If I Can’t Dance / Amsterdam
$30.00 - In stock -
Louise Lawler's 'A Movie Will Be Shown Without the Picture' (1979) presents a movie in a regular cinema environment, but without any moving images. This publication is the result of an extensive research project into 'A Movie' and its 2012 iteration, undertaken with researcher Sven Lütticken and Louise Lawler. The publication includes a research essay by Lütticken that places 'A Movie' in the context of cultural developments in the 1970s and works by the Pictures Generation, and contributions by art historians Debbie Broekers, Eve Dullaart, and Daniël van der Poel.