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
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.
$80.00 - In stock -
Wonderful, uncommon monographic catalogue on the work of Joseph Beuys, published to accompany a large Japanese exhibition at The Seibu Museum of Art in 1984.
Heavily illustrated throughout with colour and black/white examples of Beuys diverse works, including his many installations, sculptures, performances, editions, drawings, paintings, etc., dating from the mid-1940s to the year the book was published (1984). Includes texts in Japanese, with contributors texts from Nam June Paik and Dr. Gotz Adriani, in English, Japanese and German.
Also features extensive catalogue of works, and biography.
Joseph Beuys (12 May 1921 – 23 January 1986) was a German Fluxus, happening, and performance artist as well as a sculptor, installation artist, graphic artist, art theorist, and pedagogue.
His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate and only rarely acrimonious open public debates on a very wide range of subjects including political, environmental, social and long term cultural trends. He is widely regarded as one of the most influential artists of the second half of the 20th century.
Hardcover, 366 pages, 22.5 x 31 cm
1st German edition, Out of print title / used / very good,
Published by Hatje Cantz / Berlin
$70.00 - Sold
The long out-of-print heavyweight "Out of Actions" book (First German hardcover edition) that was published to accompany the spectacular 1998 Paul Schimmel-curated travelling exhibition. "Out of Actions" surveyed the broad international history and influence of post-war Performance Art, and the objects that exist today as its documentation. It features significant texts by Schimmel, Kristine Stiles, Guy Brett, Hubert Klocker, Shinichiro Osaki, Leslie King-Hammond and Lowery Stokes Sims, and Keiko Okamura.
This important and heavily researched document is lavishly illustrated throughout in colour and black and white, capturing the work and actions of the artists featured in the exhibition and essays: Marina Abramovic, Marina Abramovic and Ulay, Vito Acconci, Genpei Akasegawa, Laurie Anderson, Eleanor Antin, Rasheed Arseen, Mowry Baden, Artur Barrio, Joseph Beuys, Mark Boyle and Joan Hills, George Brecht, Stuart Brisley, Robert Delford Brown, Gunter Brus, Chris Burden, James Lee Byars, John Cage, Marc Camille Chaimowicz, Lygia Clark, Pinchas Cohen Gan, Collective Action Group, Houston Conwill, Paul Cotton, COUM Transmissions, Guy de Cointet, Jim Dine, John Duncan, Felipe Ehrenberg, Roberto Evangelista, Valie Export, Robert Filliou, Rose Finn-Kelcey, Sherman Fleming, Lucio Fontana, Terry Fox, Howard Fried, Gideon Gechtman, Gilbert & George, Alberto Greco, Ion Grigorescu, Victor Grippo, Red Grooms, Guerrilla Art Action Group, David Hammons, Al Hansen, Maren Hassinger, Lynn Hershman, Dick Higgins, Tatsumi Hijikata, Susan Hiller, Rebecca Horn, Tehching Hsieh, Joan Jonas, Kim Jones, Michel Journiac, Akira Kanayama, Tadeusz Kantor, Allan Kaprow, Mike Kelley, Juergen Klauke, Yves Klein, Milan Knizak, Alison Knowles, Komar & Melamid, Jannis Kounellis, Shigeko Kubota, Tetsumi Kudo, Yayoi Kusama, Leslie Labowitz, Suzanne Lacy, John Latham, Jean-Jacques Lebel, Lea Lublin, George Maciunas, Leopoldo Maier, Piero Manzoni, Tom Marioni, Georges Mathieu, Gordon Matta-Clark, Paul McCarthy, Bruce McLean, David Medalla, Cildo Meireles, Ana Mendieta, Gustav Metzger, Marta Minujin, Jan Micoch, Linda Montano, Robert Morris, Otto Muehl, Saburo Murakami, Natsuyuki Nakanishi, Bruce Nauman, Paul Neagu, Senga Nengudi, Joshua Neustein, Hermann Nitsch, Helio Oiticica, Claes Oldenburg, Yoko Ono, Orlan, Raphael Montanez Ortiz, Lorenzo Pace, Nam June Paik, Gina Pane, Lygia Pape, Giuseppe Pinot Gallizio, Adrian Piper, Michelangelo Pistoletto, Jackson Pollock, William Pope L., Robert Rauschenberg, Carlyle Reedy, Klaus Rinke, Ulrike Rosenbach, Dieter Roth, Zorka Saglova, Niki de Saint Phalle, Alfons Schilling, Tomas Schmit, Carolee Schneemann, Rudolf Schwarzkogler, Bonnie Sherk, Shozo Shimamoto, Ushio Shinohara, Kazuo Shiraga, Barbara T. Smith, Daniel Spoerri, Petr Stembera, Wolfgang Stoerchle, Jiro Takamatsu, Atsuko Tanaka, Mark Thompson, Jean Tinguely, Rasa Todosijevic, Kerry Trengove, Ulay, Ben Vautier, Wolf Vostell, Franz Erhard Walther, Peter Weibel, Franz West, Hannah Wilke, Emmett Williams, and Zaj.
Scarce first German edition, published by Hatje Cantz.
1st Edition, Out of print title / used / very good
Published by Albin Michel / Paris
$150.00 - Sold
First edition of the one and only Fellini photo book.
Published in Paris in 1977, this beautifully produced, heavy 340-page hardcover volume visually captures the exquisite vision of Italian film director and screenwriter, Federico Fellini, through four hundred memorable photographic stills (colour and black and white) from his fifteen and a half films, including La Dolce Vita (1960), 8½ (1963), Juliet of the Spirits (1965), Fellini's Satyricon (1969), Amarcord (1973), Fellini's Casanova (1976), and many more. Every major Fellini film is documented in these pages of lush images, accompanied by full cast listings, production details, and summaries and forwards written by Georges Simenon.
A must for any Fellini fan.
Hardcover (w. dust jacket), 288 pages, 15.2 x 24.1 cm
Published by University of Chicago Press / Chicago
$80.00 - In stock -
Douglas Crimp is the rare art critic whose work profoundly influenced a generation of artists. He is best known for his work with the "Pictures Generation" the very name of which Crimp coined to define the work of artists like Robert Longo and Cindy Sherman who appropriated images from mass culture to carry out a subversive critique. But while his influence is widely recognized, we know little about Crimp's own formative experiences before "Pictures."Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City during the late 1960s through the turbulent 1970s. Crimp participated in all of what made the city so stimulating in that vibrant decade. The details of his professional and personal life are interwoven with this the particularly rich history of New York City at that time, producing a vivid portrait of both the critic and his adopted city. The book begins with his escape from his hometown in Idaho, and we quickly find Crimp writing criticism for ArtNews while working at the Guggenheim where, as a young curatorial assistant, he was one of the few to see Daniel Buren's Peinture-Sculpture before it was removed amid cries of institutional censorship. We also travel to the Chelsea Hotel (where Crimp helped the down-on-his-luck couturier Charles James organize his papers) through to his days as a cinephile and balletomane to the founding of the art journal October, where he remained a central figure for many years. As he was developing his reputation as a critic, he was also partaking of the New York night life, from drugs and late nights alongside the Warhol crowd at the Max's Kansas City to discos, roller-skating, and casual sex with famous (and not-so-famous) men. As AIDS began to ravage the closely linked art and gay communities, Crimp eventually turned his attention to activism dedicated to rethinking AIDS. Part biography and part cultural history, Before Pictures is a courageous account of an exceptional period in both Crimp's life and the life of New York City. At the same time, it offers a deeply personal and engaging point of entry into important issues in contemporary art.
Includes the work of Cindy Sherman, Jack Goldstein, Daniel Buren, Charles James, Hiroshi Sugimoto, Agnes Martin, Dan Flavin, Peter Hujar, Eva Hesse, Bernardo Bertolucci, Walker Evans, Joseph Cornell, Alfred Hitchcock, Jack Tworkov, Robert Ryman, Jane Freilicher, Robert Smithson, Michael Snow, Stanley Kubrick, Cristobal Balenciaga, Christian Dior, Brice Marden, Ellsworth Kelly, Guilio Romano, Andrea Mantegna, Merce Cunningham, Joan Jonas, Yvonne Rainer, John Baldessari, Dan Graham, Vito Acconci, Alvin Baltrop, Divine, Gordon Matta-Clark, Edgar Degas, Louise Lawler, and so many others.
$69.00 - In stock -
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today.After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real -- to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-garde, it concludes with an original reading of this contemporary situation -- and what it portends for future practices of art and theory, culture and politics.
Includes the work of David Hammons, Robert Gober, Mike Kelley, Marcel Duchamp, Alexander Rodchenko, Vladimir Tatlin, Dan Flavin, Carl Andre, Jasper Johns, Daniel Buren, Marcel Broodthaers, Michael Asher, Hans Haacke, Fred Wilson, Silvia Kolbowski, Larry Bell, Sol Lewitt, Richard Serra, Eva Hesse, Donald Judd, Tony Smith, Robert Morris, Robert Smithson, Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Ross Bleckner, Barbara Kruger, Sherrie Levine, Vito Acconci, Bruce Nauman, Gordon Matta-Clark, Frank Stella, Robert Rauschenberg, Andy Warhol, Allan McCollum, Gerhard Richter, Richard Estes, Richard Prince, Cindy Sherman, Kiki Smith, John Miller, Zoe Leonard, Gran Fury, Renée Green, Dan Graham, Martha Rosler, Allan Sekula, Mary Kelly, Silvia Kolbowski, Lothar Baumgarten, Fred Wilson, Jimmie Durham, and many more.
Softcover, 248 pages, 13.6 x 20.5 cm
Published by Sternberg Press / Berlin
$36.00 - In stock -
Quinn Latimer’s arresting writings find expression in literature and theory as well as contemporary art and its history. Moving from Southern California to central and southern Europe, crossing geographies and genres, her texts record specters and realities of culture, migration, and displacement, compounding the vagaries of rhetoric and poetics with those of personal history and criticism.
Composed in the space between the page and live performance, Latimer’s recent essays and poems collected here examine issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making. Shifting between written language and live address, between the needs of the internal and the external voice, Like a Woman retrieves the refrain, the litany, and the chorus, exploring their serial ecstasies and political possibilities.
Quinn Latimer is a poet and critic from California. Her writings and readings have been featured widely, including at Chisenhale Gallery, London; REDCAT, Los Angeles; and Qalandiya International, Ramallah/Jerusalem. Her books include Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder, coedited with Adam Szymczyk (Sternberg Press, 2014); Sarah Lucas: Describe This Distance (Mousse Publishing, 2013); Film as a Form of Writing, with Akram Zaatari (WIELS/Motto Books, 2013); and Rumored Animals (Dream Horse Press, 2012).
Latimer is editor in chief of publications for documenta 14.
Design by Sam de Groot
Softcover, 1st printing, 43 pages, 11 x 8.5"
Edition of 500.,
Published by 2nd Cannons / Los Angeles
$30.00 - In stock -
Selections from The Anatomy of Melancholy by Robert Burton telescopes 350 years, the period from the 1620s to the 1970s. It is what artist William E. Jones imagined Robert Burton’s The Anatomy of Melancholy would have looked like had it appeared in the pages of Drummer magazine. In preparing the book, Jones condensed Burton’s vast 450,000-word masterpiece of 17th Century English literature to a small fraction of its length, and paired the excerpts with vintage images of leather men at work and play. Robert Burton was fascinated by the variations of human sexuality, albeit more as an observer than as a participant. He wrote about sex in covert Latin passages that are newly translated in Jones’s book. Selections from The Anatomy of Melancholy by Robert Burton is a delightfully perverse condensation of Burton’s speculations on the sexual proclivities that subsequent generations of gay men put into exuberant practice.
Softcover, 43 pages, 21.5 x 28 cm
Edition of 500,
Published by 2nd Cannons / Los Angeles
$30.00 - In stock -
The third release in a series of books by William E. Jones, Heliogabalus pays tribute to the most decadent Roman Emperor. Who was this creature who called himself Elagabalus, after El Gabal, god of the sun? What to make of his addiction to luxury, his overbearing mother, his controversial genitals? Enlightening texts can be found in the latest 2nd Cannons publication. The book features accounts of Heliogabalus by Edward Gibbon, Herodian, Cassius Dio, and the spurious Aelius Lampridius. It also contains a contemporary text, “This Necrophilic Strategy Entails Some Risk,” a collaboration by Bruce Hainley and William E. Jones, previously published only in expurgated form, and now presented with all lurid details intact.
Varius Avitus Bassanius, later known in his infamy as Heliogabalus, ruled Rome from 218 to 222 of the Common Era. After he was murdered by the soldiers who had formerly supported him, his successor, Alexander Severus, ordered that all sculptures of Heliogabalus be desecrated. The iconoclasm directed against Heliogabalus was so nearly complete that very few portraits of him still exist. William E. Jones has somewhat opportunistically dealt with the paucity of images of this imperial person by inserting advertisements from a bygone era at intervals in Heliogabalus. These advertisements, and the book’s design in general, derive from the pages of that avatar of 1970s urban culture, After Dark.
$85.00 - In stock -
This comprehensive and chronologically structured catalogue raisonné orders the radical work of the artist Maria Eichhorn according to art history and is supplemented by extensive image and archive material on her works, projects and exhibitions since 1986.
With the addition of large-format illustrations of the exhibition in Bregenz, this is one of the most comprehensive publications on the work of the artist to date.
Published retrospectively after the exhibition at Kunsthaus Bregenz, 10 May – 6 July 2014.
English and German text.
$98.00 - In stock -
This catalogue is the first comprehensive publication on Price’s varied oeuvre. It offers an unflinching portrait of contemporary, mediated Western life. The exhibition at Stedelijk Museum is the first survey of the American artist’s work.
A key theme in Price’s work is the self under technological pressure. This is often expressed in terms of the ‘skins’ of surface, packaging, and wrapping: a photographic study of a person’s skin obtained through the technologies Google employs for mapping; a vacuum-formed plastic relief presenting a body part stranded in plastic; a large wall sculpture depicting the negative space between two people engaged in intimate action, greatly enlarged from a tiny internet jpeg.
‘Seth Price is a key figure in addressing technology and artistic authorship. His work traces an important art historical shift from the concept of collage, where chance played a major role and the image was constructed of multiple layers, to the concept of a unified image, which envelops us in an endless, undifferentiated, digital stream.’ – Beatrix Ruf, Director of Stedelijk Museum
Published on the occasion of the exhibition Seth Price: Social Synthetic, at Stedelijk Museum, Amsterdam (15 April – 3 September 2017), and at Museum Brandhorst, Munich (12 October 2017 – 18 March 2018).
Texts by: Cory Arcangel, Ed Halter, Achim Hochdörfer, Branden W Joseph, John Kelsey, Michelle Kuo, Rachel Kushner, Laura Owens, Ariana Reines, Beatrix Ruf.
2017, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$30.00 - Sold
The theme of this issue - The New New Left - is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. But as the discourses and strategies long associated with the Left (workerism, identity politics, or the mode of the avant-gardist troll) have been adopted by anti-progressive outlets, it has become increasingly complex to locate a Left stance from which to effectively speak and act. This issue explores the affective mechanisms and media strategies – from the rise of viral content (memes) to the harvesting and right-wing politicization of emotions – that are producing our post-millennial, post-financial crisis, post-Brexit/Trump present.
Issue No. 106 / June 2017 "The New New Left“
Table Of Contents
Cultural Resources / Sabine Hark And Sighard Neckel In Conversation On Feelings Of Resentment And Revenge
Fake Left, Punch Right
Unveiling And/Or Re-Masking / Notes On The Political Dialectics Of The Opacity Of The Sign
Wrong Seeing, Odd Thinking, Strange Action
Notes Toward The Memes Of Production
The Tough Stuff / “Populism," "Political Correctness," And The Like
Face The Market On Your Own
Liberté, Egalité, Beyoncé?
Europe, 2016-17 / Selected Status Updates Of Recent Months
Become What You Fear
Ana Teixeira Pinto
Artwashing / Nrx And The Alt-Right
Obsessive, Compulsive, Disorder / Johanna Burton On Douglas Crimp’s “Before Pictures”
Probing Attitudes / Philipp Ekardt On “Putting Rehearsals To The Test” (Buchmann, Lafer, Ruhm, Eds.)
In Experimenten Seine Vernunft Aufs Spiel Setzen / Stefan Römer Über Hans-Jörg Rheinberger, „Der Kupferstecher Und Der Philosoph. Albert Flocon Trifft Gaston Bachelard“
Nachrichten Aus Der Ideologischen Antike / Georg Imdahl Über Wade Guyton Im Museum Brandhorst
Schwere Verspannungen Lösen / Eva Scharrer Über Nairy Baghramian Im S.M.A.K. In Gent
Deviant Art / Dena Yago On Danny Mcdonald At House Of Gaga, Los Angeles
Put Your Money Where Your Mouth Is / Tina Schulz Über Nora Schultz Bei Isabella Bortolozzi, Berlin
Reverse Cubism Als Betrachtungsirrtum / Gunter Reski Über Pieter Schoolwerth Bei Capitain Petzel, Berlin
Mad World / Steven Warwick On Liz Craft & Pentti Monkkonen At Liszt, Berlin
Public Viewing / Moritz Scheper Über Sadie Benning In Der Kunsthalle Basel
Eye In The Sky / Ilya Lipkin On Ned Vena At Societé, Berlin
Kritische Stoffe, Shoppinglust Und Andere Ambivalenzen / Ines Kleesattel Über Ines Doujak (Und John Barker) Im Württembergischen Kunstverein
In Einem Anderem Land / Christian Kravagna Über „The Color Line“ Im Musée Du Quai Branly, Paris
Mehr Epistemischer Ungehorsam! / Susanne Witzgall Über „Postwar: Kunst Zwischen Pazifik Und Atlantik 1945–1965“ Im Haus Der Kunst, München
With Or Without / Christian Philipp Müller On Yuji Agematsu At Miguel Abreu Gallery, Nyc
Kommunikation Ist Kein Objekt / Fiona Geuß Über Ian Wilson In Den Kw Institute For Contemporary Art, Berlin
Gustav Metzger (1926–2017): Ein Nachruf Von Sabine Breitwieser
Softcover, 975 pages, 19 x 26 cm
Published by The Exhibitionist / New York
$78.00 - In stock -
Edited with introduction by Jens Hoffmann.
A journal by curators for curators, The Exhibitionist has asked the most pertinent questions on contemporary exhibition-making since its founding in 2009.
The Exhibitionist: Journal on Exhibition Making is an anthology of the first 12 issues of the journal about contemporary curating that bears the same name. Established in 2009 as a forum for critical reflection on exhibition-making and curatorial practice, The Exhibitionist has always defined itself as “by curators, for curators.” Modelled after the iconic French film journal Cahiers du cinéma, The Exhibitionist has served a critical role in examining current curatorial practices by focusing specifically on the exhibition format as a site of experimentation and inquiry. The Exhibitionist has historicized, analyzed and critiqued a phenomenon it is itself symptomatic of—the rise of the curator since the 1960s, the ensuing explosion of curatorial creativity and the growing fascination with the discipline of curating.
Over the six years of its run, The Exhibitionist has published writings from many of the most prominent curatorial voices in the field, offering a who’s who of curatorial practice; contributors include Okwui Enwezor, Hans Ulrich Obrist, Mary Jane Jacob, Nato Thompson, Jessica Morgan, Maria Lind, Sofía Hernández Chong Cuy and Massimiliano Gioni, to name just a select few.
Collected together in a monumental omnibus edition (clocking in at 975 pages), the complete run of the journal is accompanied by a new introduction by founding editor Jens Hoffmann, and a critical approach to a theory of the exhibition by senior editor Julian Myers-Szupinska. With the publication of this volume, The Exhibitionist closes a chapter of its existence as a print magazine and shifts its activities to the-exhibitionist.com.
2017, German / English
Softcover, 192 pages, 21 x 30 cm
Published by Roma / Amsterdam
$39.00 - In stock -
The eighth instalment in Kunstverein München’s ‘Companion’ series, this “Verkaufskatalog” contains images, prices, material descriptions, and gallery designations for each of the works by artists Jos de Gruyter and Harald Thys included in the exhibition ‘30 Jahre Kunst’. The diverse spectrum of the duo’s collaborative practice – drawings, paintings, sculptures, photographs, kinetic objects, and videos – is represented over the book’s 192 pages, all printed in black and white. In addition, a number of lost, destroyed, or forgotten works are featured, as well as new works that were specially commissioned for the exhibition.
Softcover, 78 pages (w. fold-outs), 42 x 30 cm
1st Swiss edition, Out of print title / used*,
Published by Edition C / Zürich
$140.00 - Sold
With an introduction by Clive Baker and numerous texts by HR Giger as well as texts by Fritz Billeter and Simon Vinkenoog and a tribute from Salvador Dali.
"The "Necronomicon" is a legendary magical book that is kept in inaccessible places only in a few, incompletely preserved specimens because it could have disastrous consequences if it fell into the wrong hands. It was written down around 730 AD in Yemen by the legendary Abdul Al Azred. It is said to tell of things and events that took place in the gray age, and illustrations of uncanny creatures lurking in the depths of the earth and the seas, one day destroying mankind and striking the world.
Al Azred's "Necronomicon" is a kind of museum of the most wonderful abominations and perversions. The well-known writer HP Lovecraft was the first to report in his "Cthulhu" mythology of this work. Many other science fiction and fantasy writers have quoted this fictional work time and again, but it has only become a visual reality in "HR Giger's Necronomicon"!"
"Giger always opens up new approaches to the origins of our psyche," writes Clive Baker in his foreword. "He is planning for us to go, encouraged by the knowledge that others have gone before this path, and only a few artists are able to give such impulses, and if we follow Giger, we are initially afraid of our mental health. And quickly recognize that the supposed new territory has countless stations that are connected with our familiar life. For, after all, we are no strangers: Giger points the direction into the world in which we must return, where we pledge our pledge, to pay the tithes which we owe. Giger's world is the place of our own taboos, and only our own disregard makes him appear frightening, sullen, "alien" (alien). (...) Giger's work calls us to the common ground of the unconscious, where, though we sometimes alienate ourselves from it, we are never really strangers. In other words, HR Giger's fantastic art is calling us home."
Beginning with a hommage from Salvador Dali, the first in this series of oversized and visually overwhelming volumes takes us through the early history of one of the most brilliant fantasy artists of the century. From his "Passegen" series, his work for theatre, posters, album artwork, environments, personal works, is designs for Alejandro Jodorowsky's DUNE, and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries.
This is the first Swiss edition, published by Edition C.