World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme 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
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"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.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
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.”
“Food Bazaar”
“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".
John Nixon
"Archive"
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.
"Habitat"
at Minerva, Sydney (organised 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
Press Release:
“...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.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
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
"Aesthetic Suicide"
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.
2019, English
Softcover, 272 pages, 12.5 x 19.5 cm
Published by
Sternberg Press / Berlin
$59.00 - Out of stock
Texts by Defne Ayas, Ute Meta Bauer, Nicolas Bourriaud, Carolyn Christov-Bakargiev, Joshua Decter, Clémentine Deliss, Irmgard Emmelhainz, Boris Groys, Hou Hanru, María Belén Sáez De Ibarra, Maria Lind, Pi Li, Steven Henry Madoff, Antonia Majaca, Gabi Ngcobo, Hans Ulrich Obrist, Jack Persekian With Alison Carmel Ramer, Terry Smith, Nato Thompson, Mick Wilson, Brian Kuan Wood, Tirdad Zolghadr
With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? What about activism in curatorial practice? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy. What unfolds in these pages is a vast range of ideas—a tool kit for cultural producers everywhere to engage audiences and face the fierce political challenges of today and tomorrow.
What about Activism? is based on the summit “Curatorial Activism and the Politics of Shock,” which took place at the School of Visual Arts, New York. Along with expanded versions of the talks given at the conference, the book includes a transcript of a roundtable discussion moderated by Steven Henry Madoff and Brian Kuan Wood among the speakers and students in the MA Curatorial Practice program at SVA.
2017, English
Softcover, 196 pages, 13 x 21 cm
Published by
Sternberg Press / Berlin
$59.00 $35.00 - Out of stock
Since the early 1800s, the institution of the university has promoted creativity, critical thinking, and independent research. The more it has yielded to the pressures of the economy, however, the more it has betrayed its ideals. This, in short, is the common critique of the plight of the academy. But the inverse might be true: the depression, feelings of insufficiency, and permanent pressure to innovate experienced by academics might be symptoms of these original ideals, which, along with artistic production and the regime of aesthetics, has shaped the spirit of neoliberal capitalism.
Philosopher and political theorist Armen Avanessian argues that the ethical dimension of knowledge can produce a new reality. Can the speculative poetics of collaborative writing, he asks, free us from the dominant regime of the academy and, by extension, the art world? And how does this independence differ from the principle of self-fulfillment on which the ideal of the university and current conceptions of artistic research are based?
Overwrite: Ethics of Knowledge—Poetics of Existence is about the desire to write differently to situate oneself in the world differently. It is a book about the truth that is produced when a subject takes responsibility for its thinking, its experiences, its conflicts; when a subject rewrites and overwrites itself to become an other, and transforms the world in the process.
Translated by Nils F. Schott
Design by HelloMe
2017, English
Softcover, 128 pages, 13.2 x 18 cm
Published by
Sternberg Press / Berlin
$57.00 $30.00 - Out of stock
Strange how many déjà vus you have here.
How might we conceive of comradeship with a present that is increasingly predetermined by algorithms and governed by techno-politics? Armen Avanessian chronicles his stay in Miami as an experiment in writing about our times of individual optimization and digitization. An inventory of the self in the second person—and a philosopher’s reflections in the infinity pool of the art world—this book reckons with a new time complex as well as the aesthetics and infrastructures of the contemporary. Can we advance from conditions of financial feudalism and climate change to a progressive poetics of the digital? The city of tropical noir becomes a case study for a geopolitics and economics of the future—Miami vision, Miami vacation, Miami fiction, Miamification.
“A philosophical-autobiographical laboratory, this book tests ways of thinking and writing beyond run-of-the-mill academic talk. Avanessian doesn’t visit the library; he flies to Miami and goes swimming. Moving between the beach and his desk, he pens seventeen philosophical diary entries in which the hot topics of the day are tackled associatively and with tremendous precision: Trump, big data, capitalism, surveillance, immigration, Facebook, Twitter, etc.”
—Georg Dickmann, Spike
“Avanessian’s reflections, somewhere between diary and soliloquy, essay and travelogue, always take their starting point from the concrete, the phenomenological—for example, the flickering screens in the airplane cabin or the social networks that are first to appear on your computer screen in the morning. Digital profiles and algorithms raise one of the book’s defining themes on the first day: our temporality. In the 'geological science fiction' of Miami, the time complex finds its place.”
—Tom Wohlfarth, Der Freitag
“Avanessian has coined the time-philosophical metaphor of a future that is now 'from the future.' Not only preemptive personalization, but also preemptive policing, preemptive war as well as the war on terror, and the preemptive operations of the financial markets shape our future by anticipating it. And not only has the future largely fallen into the hands of reactionary political agendas and particular economic interests, but as the recursive and poetic character of these players' actions is passed off as the prognosis of a predestined future, our consciousness is clouded against a real existing future openness. The future has been 'automated' and thus distorted.
The political impulse of Miamification is to insist again and again on the recursive and poetic character of the future; to wrest ourselves of the present deterioration of twitter trances and live logs; and to take up the fight for the future in the future, that is, in the mode of preemption.”
—Daniel Falb, Textem
Translated by Nicholas Grindell
Design by HelloMe
2017, English
Softcover, 296 pages, 17 x 25 cm
Published by
Occasional Papers / London
$42.00 $25.00 - In stock -
This second print run of About Graphic Design (initially printed in 2012) features a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, this densely illustrated book includes a wide array of interviews, essays, letters, articles and lectures. It covers virtually everything regarding the field and history of graphic design, from Soviet revolutionary posters and designers in Nazi Germany to Penguin book covers, New 'New' Typography, Max Bill and Nicolete Gray. Various texts on Robin Fior, Theo Ballmer, Uwe Loesch and Pierre Faucheux, among many others, add depth to this very thoroughly researched story of graphic design.
2010, English
Softcover, 96 pages, 14 x 23 cm
Published by
Occasional Papers / London
$39.00 - Out of stock
Now it in its third printing (green cover), The Form of the Book Book brings together essential essays on the book – its history, present, and possible futures – by preeminent graphic designers and graphic design theorists/historians including Chrissie Charlton, Catherine de Smet, James Goggin, Jennie Eneqvist, Roland Früh & Corina Neuenschwander, Sarah Gottlieb, Richard Hollis and Armand Mevis. In a nod to Jan Tschichold’s famous collection of essays The Form of the Book, first published in 1975, this book offers in-depth analyses of key moments in the history of book design in order to better imagine the many forms the book will take, and is already taking, in our digital age.
1964, English
Softcover (staple-bound), 16 pages, 18.5 x 24.5 cm
1st Edition, Out of print title / Used*,
Published by
Melbourne University Film Society / Melbourne
$15.00 - Out of stock
Annotations on Film was a journal published by the Melbourne University Film Society to accompany their film programme, aimed at presenting films in Melbourne in the medium they were created and providing a critical reading of them for an independent, membership-based film society. Starting in 1948, the Melbourne University Film Society (MUFS) changed its name to Cinémathèque in 1984 and continues to this day in Melbourne. A written accompaniment to their programme can be seen in the form of the current-day online journal Senses of Cinema.
This scarce early journal from the Melbourne University Film Society features writings on Roberto Rossellini's Vanina Vanini, Kon Ichikawa's Kagi, Georges Fraju's Spotlight on Murder, Blake Edwards' Breakfast at Tiffany's, Nicholas Ray's The Savage Innocents, Alfred Hitchcock's The Lady Vanishes, E. A. Dupont's Variety, Robert Flaherty's Moana, Jean Vigo, François Truffaut, Luis Buñuel's The Exterminating Angel, and more, and was published in Melbourne in 1964.
1964, English
Softcover (staple-bound), 20 pages, 18.5 x 24.5 cm
1st Edition, Out of print title / Used*,
Published by
Melbourne University Film Society / Melbourne
$15.00 - Out of stock
Annotations on Film was a journal published by the Melbourne University Film Society to accompany their film programme, aimed at presenting films in Melbourne in the medium they were created and providing a critical reading of them for an independent, membership-based film society. Starting in 1948, the Melbourne University Film Society (MUFS) changed its name to Cinémathèque in 1984 and continues to this day in Melbourne. A written accompaniment to their programme can be seen in the form of the current-day online journal Senses of Cinema.
This scarce early journal from the Melbourne University Film Society features writings on Ingmar Bergman, Louis Malle, Marcel Camus' Black Orpheus, Jules Dassin's Rififi, Jack Clayton's The Innocents, Frank Tashlin, Alain Resnais' Hiroshima, Mon Amour, Sergei Eisenstein's Battleship Potemkin, Orson Welles' Citizan Kane, and more, and was published in Melbourne in 1964.
2015, English
Softcover, 316 pages,10.8 x 17.8 cm
Published by
Sternberg Press / Berlin
$45.00 - Out of stock
Edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
Contributions by Julian Assange, Franco “Bifo” Berardi, Benjamin Bratton, Diedrich Diederichsen, Keller Easterling, Rasmus Fleischer, Joana Hadjithomas and Khalil Joreige, Ursula K. Heise, Brian Kuan Wood, Bruno Latour, Geert Lovink, Patricia MacCormack, Metahaven, Gean Moreno, Hans Ulrich Obrist, Jon Rich, Hito Steyerl
The internet does not exist. Maybe it did exist only a short time ago, but now it only remains as a blur, a cloud, a friend, a deadline, a redirect, or a 404. If it ever existed, we couldn't see it. Because it has no shape. It has no face, just this name that describes everything and nothing at the same time. Yet we are still trying to climb onboard, to get inside, to be part of the network, to get in on the language game, to show up on searches, to appear to exist. But we will never get inside of something that isn’t there. All this time we’ve been bemoaning the death of any critical outside position, we should have taken a good look at information networks. Just try to get in. You can’t. Networks are all edges, as Bruno Latour points out. We thought there were windows but actually they’re mirrors. And in the meantime we are being faced with more and more—not just information, but the world itself.
Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle
Design by Jeff Ramsey, front cover design by Liam Gillick
2017, English
Softcover, 360 pages, 10.8 x 17.8 cm
Published by
Sternberg Press / Berlin
$57.00 - Out of stock
Edited by Julieta Aranda, Brian Kuan Wood, Stephen Squibb, Anton Vidokle
With contributions by Paul Chan, Keti Chukhrov, Cluster, Antke Engel, Hu Fang, Brian Kuan Wood, Lee Mackinnon, Chus Martínez, Tavi Meraud, Fred Moten and Stefano Harney, Elizabeth A. Povinelli and Kim Turcot DiFruscia, Paul B. Preciado, Martha Rosler, Virginia Solomon, Jalal Toufic, Jan Verwoert, Slavoj Žižek
It is often said that we no longer have an addressee for our political demands. But that’s not true. We have each other. What we can no longer get from the state, the party, the union, the boss, we ask for from one another. And we provide. Lacan famously defined love as giving something you don’t have to someone who doesn’t want it. But love is more than a YouTube link or a URL. Love’s joy is not to be found in fulfillment, it is to be found in recognition: even though I can never return what was taken away from you, I may be the only person alive who knows what it is.
In our present times—post-human, post-reality, or maybe pre-internet, post-it, pre-collapse, pre-fabricated by algorithms—what does love have to do with it? Since 2009, need and care and desire and admiration have been cross-examined, called as witness, put on parole, and made the subject of caring inquiry by e-flux journal authors. These writings have now been collected to form this comprehensive volume.
Series edited by Julieta Aranda, Brian Kuan Wood, Stephen Squibb, Anton Vidokle
Design by Jeff Ramsey, front cover design by Liam Gillick
2020, English
Paperback, 504 pages, 17.8cm x 17.8cm
Published by
Walther König / Köln
$88.00 - Out of stock
From poems to statements and lectures, the writings of post-minimalist virtuoso Richard Tuttle possess the same instinct for materiality and delicacy as his art.
Over the course of more than 50 years, American artist Richard Tuttle (born 1941) has invented new possibilities of scale and humour, sometimes adding almost nothing to an object, at other times recklessly heaping up his materials or pressing them to the brink of compositional incoherence. With just the same sensitivity, humour and nuance, Tuttle has also composed numerous texts, mostly in response to specific commissions and publications. Tuttle does not approach writing as a transparent communicative medium, but rather as simply another material.
Beautifully designed, as Tuttle books always are, A Fair Sampling brings together a selection of the artist's writings published in exhibition catalogs, books and newspapers, as well as hitherto unpublished texts. These include not only reflections and commentaries on art and drawing, but also tributes to artist friends, including various texts on Agnes Martin, travel notes, poems and lectures that Tuttle delivered in various institutions.
1975, English
Hardcover (w. dust jacket), 144 pages, 25.5 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Faber & Faber / London
$100.00 - Out of stock
First hardcover edition of The Music Of Stockhausen by Jonathan Harvey (1939–2012). This crucial and comprehensive book from 1975 looks at and decrypts the early work of German composer Karlheinz Stockhausen (1928–2007). "This important and innovatory study of Stockhausen's music makes available for the first time systematic analyses of his works. Dr Jonathan Harvey comprehensively surveys the periods into which Stockhausen's music falls, from the early post-Webern works and group-form works, of which 'Gruppen' is a famous and brilliant example, to the subsequent moment-form works and the later period, which includes text-works (like 'Aus den sieben Tagen') and works like 'Hymnen', in which the composer would seem to be communicating on a quasi-mystical level. This is an indispensable book for the serious student of twentieth-century music and for anyone else with a lively interest in the new forms and sonorities of the preset day, their technology and the creative doctrines which gave birth to them." - from the dust jacket.
Includes a full list of compositions up to 1974, an appendix on Mantra (1970), a bibliography and full discography. The most comprehensive of published works on Stockhausen.
Very Good copy with good dj, some edge-wear and tanning.
2020, English
Softcover, 206 pages, 12 x 19 cm
Published by
Uh Books / Amsterdam
KW Institute for Contemporary Art / Berlin
$24.00 - Out of stock
The nineteenth issue of ‘F.R.DAVID’ is edited by Will Holder and Paula Abbott, and will serve as a reader for “We can still see the horizon (and it’s curved)”, a summer residency in Scotland led by the editors. It includes a surprising array of contributions from writer Jorge Luis Borges, journalist and writer Italo Calvino, composer Hugo Cole, literary critic and theorist Barbara Herrnstein Smith, percussionist Milford Graves, philosopher Michel Serres, novelist and essayist Wilson Harris, poet Bernadette Mayer, composer and music theorist Harry Partch, pianist and poet Cecil Taylor, and several others.
2020, English
Softcover, 100 pages, 22 x 30 cm
Published by
UTS School of Architecture / Sydney
Post-Post / Sydney
$49.00 - In stock -
Melbourne, Sydney: References, Reflections and Remarks explores the decades-long architectural controversy between Melbourne and Sydney, inviting the protagonists of each city's architecture to weigh in.
Guest edited by Guillermo Fernández-Abascal and Urtzi Grau, it includes texts by AKAS, Baracco+Wright, Andrew Burns, Angelo Candalepas, Scott Colman, Edition Office, Philip Goad, Tristen Hardwood, Mike Hewson, Luisa King, Andrew Leach, Carey Lyon, Desley Luscombe, Ian Moore, Other Architects, panovscott, Andrew Power, Howard Raggatt, Gerard Reinmuth, Sibling Architecture, Richard Stampton, Naomi Stead, Luke Tipene, TRIAS, Leon Van Schaik and John Wardle.
Melbourne, Sydney; References, Reflections and Remarks is number one in a new series published by University of Technology, Sydney's School of Architecture: UTS da Waranada gunyamara bamulmara/ Architecture and Landscape at UTS and is published in collaboration with the design collective Post-Post-.
2020, English
Softcover, 60 pages, 20.5 x 30 cm
Published by
UTS School of Architecture / Sydney
Post-Post / Sydney
$32.00 - In stock -
Quality, Control examines the relationship between bureaucratic architectural practice and quality in architectural design and construction through the work of the Government Architects Office New South Wales. Conceived at the UTS School of Architecture, the publication repackages the catalogue from the exhibition held at UTS Tower in November 2019. Quality, Control is a curated set of reproduced drawings, physical models, constructed mockups, commissioned photographs and commentaries. The publication also includes texts by Charles Rice, Urtzi Grau and Guillermo Fernández-Abascal, Jack Cooper and Luka Enström-Gibb. These documents are used to reanimate archival records and bring awareness to an at risk portfolio of public architecture; an architecture built by public architects for the public.
Quality, Control is a project by Jack Cooper and Luka Enström-Gibb with Guillermo Fernández-Abascal.
Limited edition of 200 copies.
2019, English
Softcover, 212 pages, 25 x 20 cm
Published by
Sternberg Press / Berlin
Muzeum Sztuki / Łódź
$69.00 $40.00 - Out of stock
With contributions by Joanna Bednarek, Ines Doujak & John Barker, Zofia Łapniewska, Raqs Media Collective, Joanna Sokołowska, Marina Vishmidt, Siona Wilson
This book is both a record and a theoretical expansion of the exhibition “All Men Become Sisters” at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction. “Sisterhood” is a key concept and an impulse to work with imagination; built on the foundations of second-wave criticism of the patriarchal exploitation of women, it poses questions about the future from the perspective of feminist economics and ethics of care.
Artists: Berwick Street Film Collective, Pauline Boudry/Renate Lorenz, Sarah Browne, Agnieszka Brzeżańska, Jan Czapliński, Ines Doujak in cooperation with John Barker, Köken Ergun, Hackney Flashers, Krystyna Gryczełowska, Margaret Harrison, Elżbieta Jabłońska, Birgit Jürgenssen, Irena Kamieńska, Ola Kozioł/Suavas Levy, Nalini Malani, Marge Monko, Şükran Moral, Teresa Murak, Letícia Parente, Agnieszka Piksa, Marcin Polak, Aleksandra Polisiewicz, Raqs Media Collective, R.E.P., Alicja Rogalska, Daniel Rumiancew, Jadwiga Sawicka, Allan Sekula, Jo Spence, Rosemarie Trockel, Agnès Varda, Mona Vǎtǎmanu/Florin Tudor, Zorka Wollny
Curator: Joanna Sokołowska
Copublished with Muzeum Sztuki, Łódź
Design by Monika Zawadzki, Olo Jean-Claude Zawadzki
2015, English
Softcover, 196 pages, 10.8 x 17.8 cm
Published by
Sternberg Press / Berlin
$39.00 $10.00 - Out of stock
With a foreword by Keller Easterling
Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.
Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.
The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery.
In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler.
Design by Jeff Ramsey
2016, English
Softcover, 252 pages, 11.2 x 17.8 cm
Published by
Sternberg Press / Berlin
$62.00 $15.00 - Out of stock
"I am being plunged into. And Ingo Niermann describes it with poise.”
—Elfriede Jelinek, author of The Piano Teacher
Ingo Niermann’s provocative new novel imagines a Berlin alternative to the activist occupation of public spaces in 2011. The completists, gathered at Alexanderplatz, aspire for justice through intimacy. They believe that only when the redistribution of material wealth includes equal chances of finding sex and love—no matter how elderly, disabled, or ugly you are—communism will become real. This volume of the Solution series is a revolutionary erotic fiction.
Karl, a freelance writer and young stay-at-home dad in Berlin, first dismisses the completists as a bunch of as fringe weirdos and burnouts. But over the course of one summer day, his outlook changes after a series of encounters both virtual and physical. Contacting him on Skype, an attractive and mysterious stranger tells him she has only three hours left to live. Their video chat starts a game of seduction and intrigue and turns into a vivid debate on the decorum of modern relationships and fantasies. Instead of satiating him sensually and emotionally, Ava enlightens him about the real completist challenge of justice through sex and intimacy. Karl must join ranks with disabled sex-rights activist Oskar Patzer before his day’s journey—culminating in an improvised public orgy prefaced by a choreographed group performance—can indicate the possibilities for completing love.
For further completist efforts, go to www.thearmyoflove.net.
Translated by Amy Patton
Solution Series edited by Ingo Niermann
Design by Zak Group
2015, English
Softcover, 128 pages, 11.2 x 17.8 cm
Published by
Sternberg Press / Berlin
$46.00 $10.00 - In stock -
The phenomenal performative relationship between the state and its cultural institutions was perhaps best exemplified when the declaration of the State of Israel was staged at the Tel Aviv Museum of Art in 1948. This relationship has been at the heart of Public Movement’s research. Solution 263: Double Agent, authored by Alhena Katsof and Dana Yahalomi, presents a methodology, manual, and performance offered as a culmination of efforts by the Office of Strategy and Protocol. It contains the necessary tools to activate Debriefing Sessions and in doing so trains future Agents in a series of one-to-one exchanges gathered from work in the field. At its root, Debriefing Sessions explore the possibility that to activate art in the political field, an agent may be a double agent.
The manual includes contributions by Karen Archey and Janto Schwitters, and Jill Magid.
AGENT
Most of the details about these paintings disappeared and in their place there is a vacuum, a culture of permissibility making strangers of us all.
We began to focus our search on paintings we could find, which had, almost without exception, been carried across borders and cared for by the artists and their families.
These paintings live in the Diaspora as exiled people do. (Returns to the folio and the diagram)
Solution Series edited by Ingo Niermann
Design by Zak Group
2010, English
Softcover, 128 pages, 112 x 178 mm
Published by
Sternberg Press / Berlin
$46.00 $10.00 - Out of stock
Solution 186–195: Dubai Democracy is the fifth book in the Solution series. Using Dubai as a sort of modernist blank slate for urban and social renewal, author Ingo Niermann confronts today’s most relevant cultural and technological developments with analytical elixirs that are as pertinent as they are unbelievable. Niermann’s Dubai will become as specialized as housing the global center for treating diabetes—called Sugar World—and as universal as offering non-confrontational public spaces where both a state of total advertising and compulsive kindness, or what he calls a “personal humaneness account,” co-exist.
Translation from the German by Gerrit Jackson
Design by Zak Kyes
2009, English
Softcover, 84 pages, 10 b/w ill., 11.2 x 17.8 cm
Published by
Sternberg Press / Berlin
$46.00 $10.00 - Out of stock
After the end of the Second World War, the Federal Republic of Germany wanted to avoid a national “special path” at all costs. Even those who, since reunification, have called for a new patriotism merely mean to accomplish Germany’s perfect normalization as a Western democracy. What they call for is not a profession of specifically German values but an abstract love for the country in which people happen to have been born and grown up. But now, as globalization advances and China rises to become the world’s greatest economic power, the West’s very existence is at stake. The union between democracy and prosperity has been broken; democracy is no longer the indubitably most effective evil. To remain competitive in the face of globalization, Germany needs unique and inimitable advantages of location, it needs to look for specifically German visions.
In Solution 1-10: Umbauland, Ingo Niermann devises ten provokingly simple ideas which would see Germany work it out after all, including a new grammar, a new political party, assigning allotment gardens to unemployed people and retirees, and the Great Pyramid, the tallest building of the world which would serve as a democratic tomb for millions of people (see Solution 9: The Great Pyramid, eds. Ingo Niermann and Jens Thiel).
Design by Zak Kyes
2008, English
softcover, 192 pages, 48 color ill., 11.2 x 17.8 cm
Published by
Sternberg Press / Berlin
$46.00 $10.00 - In stock -
Contributions by Heiko Holzberger, Till Huber, Rem Koolhaas, Christian Kracht, Zak Kyes, Chus Martínez, Hans Ulrich Obrist, Madelon Vriesendorp, David Woodard. Projects by Atelier Bow-Wow (Tokyo), Fake/ Ai Weiwei (Beijing), Nikolaus Hirsch/Wolfgang Lorch/Markus Miessen (Frankfurt am Main), and MADA s.p.a.m. (Shanghai)
If the team behind it is successful, its members will be rich beyond the wildest dreams of even the most ambitious pharaoh. Sunday Telegraph
Millions of people will buy these bricks? BBC World Service
The idea could be read as a democratization of megalomania. Süddeutsche Zeitung
Mega-Pyramid set to save Germany. ORF
Solution 9: The Great Pyramid is the first in the forthcoming Solution series where authors will be asked to develop an abundance of compact and original ideas for other countries and regions, contradicting the widely held assumption that, after the end of socialism, human advancement is only possible technologically or requires a yet-to-be-established world order. This book also documents the architectural proposals for the Great Pyramid, selected by a jury composed of Rem Koolhaas, Omar Akbar, Stefano Boeri, and Miuccia Prada. It also contains critical texts and voices from the press on this exceptional project.
Design by Z.A.K.
2014, English
Softcover, 192 pages, 11.2 x 17.8 cm
Published by
Sternberg Press / Berlin
$49.00 $10.00 - Out of stock
“I am not sedentary and I am not itinerant. My home is a heterotopia with a thousand imaginary landscapes. … The island is the buffer zone between the places of the outside world. Those that exclude one another outside meet here. Those that are at war with one another outside negotiate here. Those that steal from one another outside trade here.”
—Simone, 38, resident of the island for three years
Seventy years ago, the small island nation of Lavapolis was founded. It began as an alternative, a gambling destination to rival Las Vegas, and became a model for a new way of living. With its principle of universal solidarity, the nation counters the pitfalls of contemporary global society. It is an ever-shifting utopia; a volcano jutting out of the Mediterranean Sea; an extension of the open frontier. The biographies of its inhabitants are integral to the whole. If the world backs down from the challenges of Lavapolis, the island is destined to erupt.
Solution 262: Lavapolis is the tenth volume in the Solution series edited by Ingo Niermann. The speculative novel accompanies “Friday in Venice,” a transmedia storytelling project about a possible Europe that took place at the 14th Venice Architecture Biennale, August 1–17, 2014 (www.lavapolis.com).
Translation by David Strauss
Design by Zak Group
1984, English
Softcover, 169 pages, 11.4 cm x 17.8 cm
Reprint,
Published by
Semiotext(e) / Los Angeles
$29.00 - Out of stock
Simulations never existed as a book before it was “translated” into English. Actually it came from two different bookCovers written at different times by Jean Baudrillard. The first part of Simulations, and most provocative because it made a fiction of theory, was “The Procession of Simulacra.” It had first been published in Simulacre et Simulations (1981). The second part, written much earlier and in a more academic mode, came from L’Echange Symbolique et la Mort (1977). It was a half-earnest, half-parodical attempt to “historicize” his own conceit by providing it with some kind of genealogy of the three orders of appearance: the Counterfeit attached to the classical period; Production for the industrial era; and Simulation, controlled by the code. It was Baudrillard’s version of Foucault’s Order of Things and his ironical commentary of the history of truth. The book opens on a quote from Ecclesiastes asserting flatly that “the simulacrum is true.” It was certainly true in Baudrillard’s book, but otherwise apocryphal.
One of the most influential essays of the 20th century, Simulations was put together in 1983 in order to be published as the first little black book of Semiotext(e)’s new Foreign Agents Series. Baudrillard’s bewildering thesis, a bold extrapolation on Ferdinand de Saussure’s general theory of general linguistics, was in fact a clinical vision of contemporary consumer societies where signs don’t refer anymore to anything except themselves. They all are generated by the matrix.
In effect Baudrillard’s essay (it quickly became a must to read both in the art world and in academe) was upholding the only reality there was in a world that keeps hiding the fact that it has none. Simulacrum is its own pure simulacrum and the simulacrum is true. In his celebrated analysis of Disneyland, Baudrillard demonstrates that its childish imaginary is neither true nor false, it is there to make us believe that the rest of America is real, when in fact America is a Disneyland. It is of the order of the hyper-real and of simulation. Few people at the time realized that Baudrillard’s simulacrum itself wasn’t a thing, but a “deterrence machine,” just like Disneyland, meant to reveal the fact that the real is no longer real and illusion no longer possible. But the more impossible the illusion of reality becomes, the more impossible it is to separate true from false and the real from its artificial resurrection, the more panic-stricken the production of the real is.
Jean Baudrillard (1929-2007) was a philosopher, sociologist, cultural critic, and theorist of postmodernity who challenged all existing theories of contemporary society with humor and precision. An outsider in the French intellectual establishment, he was internationally renowned as a twenty-first century visionary, reporter, and provocateur. His Simulations (1983) instantly became a cult classic and made him a controversial voice in the world of politics and art.
2012, English
Softcover, 836 pages, 15.2 x 22.9 cm
Published by
Martino Fine Books / United Kingdom
$64.00 - Out of stock
2012 Reprint of Original Three Volume s First Published from 1905-1907. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. This is a collection of Crowley's early esoteric writings and poetry and comprise the first collected edition of his writings. Aleister Crowley, born Edward Alexander Crowley, and also known as both Frater Perdurabo and The Great Beast, was an influential English occultist, mystic, ceremonial magician, poet and mountaineer, who was responsible for founding the religious philosophy of Thelema. In his role as the founder of the Thelemite philosophy, he came to see himself as the prophet who was entrusted with informing humanity that it was entering the new Aeon of Horus in the early 20th century. Born into a wealthy upper class family, as a young man he became an influential member of the esoteric Hermetic Order of the Golden Dawn after befriending the order's leader, Samuel Liddell MacGregor Mathers. Subsequently believing that he was being contacted by his Holy Guardian Angel, an entity known as Aiwass, while staying in Egypt in 1904, he "received" a text known as 'The Book of the Law' from what he believed was a divine source, and around which he would come to develop his new philosophy of Thelema. He would go on to found his own occult society and eventually rose to become a leader of Ordo Templi Orientis (O.T.O.), before founding a religious commune in Cefalu known as the Abbey of Thelema, which he led from 1920 through till 1923. After abandoning the Abbey amid widespread opposition, Crowley returned to Britain, where he continued to promote Thelema until his death. Crowley has remained an influential figure and is widely thought of as the most influential occultist of all time. Includes: Volume 1. Aceldama. The tale of Archais. Songs of the spirit. The poem. Jephithah. Mysteries. Jezebel, and other tragic poems. An appeal to the American republic. The fatal force. The mother's tragedy. The temple of the holy ghost. Carmen Saeculare. Tannhauser. Epilogue. Appendix. -- Volume 2. Oracles. Alice: An adultery. The Argonauts. Ahab and other poems. The God-eater. The sword of song. Ambrosii magi hortus rosarum. The three characteristics. An essay on ontology. Science and Buddhism. The excluede middle; or, the sceptic refuted. Time. Epilogue. Volume 3. The star and the garter. Rosa mundi, and other love-songs. The Sire de Maletroit's door. Gargoyles. Rodin in rime. Orpheus. Epilogue and dedication. Appendix A. Bibliographical note. Appendix B. Index of first lines.