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
Art
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World Food Books Gift Voucher
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Australian Art
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Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
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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.
2015, English
Softcover, 176 pages, 17 x 23 cm
Published by
Witte de With / Rotterdam
$38.00 - Out of stock
Art In The Age Of… was published on the occasion of the eponymous yearlong cycle presented at Witte de With Center for Contemporary Art, Rotterdam (23 January 2015 – 3 January 2016). This series articulated itself through three exhibitions; Art In The Age Of…Energy And Raw Material, Art In The Age Of…Planetary Computation, and Art In The Age Of…Asymmetrical Warfare, alongside a related discursive program and film screenings.
Art In The Age Of… was staged to investigate future vectors of art production in the 21st century, highlighting the circulation of art and its underlying economies rather than its territorial location, its spread and infectious expanse rather than its arrest within narrowly defined genealogies and media.
With a focus on topical areas of urgency within art’s creation and its dispersal, spanning energy and raw materials, planetary computation, and asymmetric warfare, the Art In The Age Of… publication both records and expands research feeding this year-long program through interviews and essays by key contributors, alongside specially commissioned artist interventions.
Edited by Defne Ayas (director, Witte de With), Natasha Hoare (associate curator, Witte de With), and Adam Kleinman (chief editor, WdW Review), the book features interviews with artists involved in the various exhibitions of Art In The Age Of…, including Rossella Biscotti, James Bridle, Céline Condorelli, John Gerrard, Femke Herrengraven, David Jablonowski, Navine G. Kahn-Dossos, John Menick, Trevor Paglen, Susan Schuppli, Tom Tlalim; commissioned essays by theorists, curators and cultural historians involved in its discursive program, including contributions by Alexandra Bradford, Natasha Ginwala, Mike Jay, and Mohammad Salemy; interventions by artists Nina Canell and David Jablonowski; as well as visual documentation of the three exhibitions.
2015, English
Softcover, 304 pages, 13 x 19.5 cm
Ed. of 500,
Published by
Dissect / Melbourne
$15.00 $5.00 - Out of stock
The Internet increasingly structures our experiences of the world. The web is approaching omnipresence, absorbed into the everyday, as our material lives are heavily mediated by its attendant applications, algorithms and software. Everything is in flux, including the presentation and distribution of our own selves—both online and offline.
Subversive interaction with various digital media seems both necessary and apparent within contemporary art. From the possibilities afforded photography by digital image manipulation and proliferation, to the incorporation of aspects of online experience into material objects, there is a porous border between the online and offline worlds, if there even remains a border at all.
A range of authors and artists address these concerns in the second issue of Dissect Journal, as submissions reflect on the structures and oppositions that continue to colour debates in and around digital art.
Contributions by: Rachel de Joode, Phebe Schmidt, Daniel Palmer, Travis Cox, Johanna Drucker, Sven Lütticken, David La Roche, James L Marshall, Madeleine Stack, Natasha Chuk, Sheridan Coleman, Danielle Zorbas, Amanda Starling Gould, Holly Childs, Max Trevor, Thomas Edmond, Hannah Schiefelbein, Kyle Weise, Tara Cook.
cover image:
Joseph DeLappe, 'Predator Drone - Cowardly' from 'Cowardly Drones', 2013. Digital image.
Dissect Journal is a new contemporary art publication that presents a range of longer essays, shorter reviews and artist pages.
If it is true that contemporary art both reflects and refracts an image of the world, as it is both of it and provides more of it, then attempts to address contemporary art must themselves be varied and complex. In the variety of material published within its pages, Dissect Journal seeks to reflect the manifold interconnections between contemporary art and the world.
Featuring both emerging and established contributors, the publication strives for a sustained and intelligent engagement with contemporary art. It aims to analyse and interrogate the work of contemporary artists from various vantage points, sculpting and refining multiple histories of and responses to contemporary art.
edition: 500
2016, English
Softcover, 240 pages, 11.8 x 16.5 cm
Published by
Sternberg Press / Berlin
The Serving Library / New York
Dexter Sinister / New York
$25.00 - Out of stock
Bulletins of The Serving Library #10
Winter 2015
Edited by Stuart Bertolotti-Bailey, Angie Keefer, David Reinfurt
With contributions by Stuart Bailey, Paul Elliman, Rob Giampietro, Angie Keefer, Bruno Latour, Isla Leaver-Yap, Leila Peacock, David Reinfurt, Bruce Sterling
Issue #10 of Bulletins of The Serving Library is a TEST, containing one choice bulletin from each of the previous nine issues. It is a compendium of sorts, a best-of double-album printed at 50% scale, a sample for what's next. This issue also includes 140-character summaries of every bulletin published previously. From now on, Bulletins of The Serving Library will proceed in full color and at half its former size—but will be twice as good.
Published by The Serving Library, New York
2015, English
Softcover, 96 pages, 16.5 x 23 cm
Ed. of 1,000,
Published by
Bookworks / London
$30.00 $10.00 - Out of stock
‘What fresh hell is this? There’s an inferred question in the title of this issue. But it’s a rhetorical one. Because we know exactly what fresh hell this is. Fossil Fuel – that paralytic drug – has leeched into our collective bloodstream. It’s difficult to recognize the beasts that are eating us in this very moment.’ – Sophia Al-Maria, from the Editor’s note, The Happy Hypocrite 8
The Happy Hypocrite – Fresh Hell treats in different ways the subject of oil. Adopting an exploded methodology for intake, image and text contributions, this issue takes a hoarding, brutally accelerative approach and considers reading, too, as an unsustainable activity. Guest editor Sophia Al-Maria’s archive acts a sort of proto-Tumblr composed of school notebooks, war games and oil industry pamphlets scattered as a series of identifying clues. All windows are open, all browsers are burning: The Happy Hypocrite asks what happens when reblogged information is translated into paper-based print.
With contributions and new work by Abdullah Al-Mutairi, Monira Al Qadiri, Stephanie Bailey, Alex Borkowski, Judy Darragh, William Gibson, Navine G. Khan-Dossos, Malak Helmy, Raja’a Khalid, Omar Kholeif, McKenzie Wark, Simon Sellars, Francesco Pedraglio and Lena Tutanjian.
Sophia Al-Maria is a Qatari-American artist and writer based in London, UK. Her memoir, The Girl Who Fell to Earth (Harper
Collins, 2012), was published in Arabic by Bloomsbury Qatar in Summer 2015. In 2014, she had her first solo show, ‘Virgin with a Memory’, at Cornerhouse, Manchester, UK. She is the recipient of a 2015 Sundance Institute Fellowship and her work was included in the New Museum Triennial, New York, USA, 2015. In 2016, she will receive her first solo museum show in the USA with the premiere of a new series of videos at the Whitney.
2014, English
Softcover, 96 pages, 16.5 x 23 cm
Ed. of 1,000,
Published by
Bookworks / London
$30.00 $10.00 - Out of stock
Always subject to change, invasion, adaptation, and enhancement, the body is our most essential material, our primary limit. Touch, meanwhile, is the body’s only unmediated form of acquiring embodied knowledge, constantly experiencing the texture of the present tense.
The Happy Hypocrite – Heat Island seeks to understand how our hands (as both digital and analogous devices) and our bodies physically traverse and negotiate knowledge. This issue comprises a temporary assembly of individuals who are acutely and intelligently aware that what we choose to do with our bodies, how we express it alone or with others, can provide valuable cultural openings and resistances to bodily regulation, whether self-imposed or via external legislation.
With contributions and new work by Park McArthur, Duncan Marquiss, Dena Yago, Elaine Cameron-Weir, Giuseppe Mistretta, Francis Sanzaro, Allison Gibbs, Will Holder, Mary Simpson, Charlotte Prodger, an interview concerning 'adjustment' between Anna McLauchlan and Gerry Kielty, and reprinted material by Paul Nash and Stow Print College, Glasgow.
Softcover, 120 pages, 14.7 x 22 cm
Published by
Bookworks / London
$33.00 - Out of stock
‘Perhaps one of my favourite definitions of cultural production is of “making things public”: the process of connecting things, establishing relationships, which in many ways means befriending issues, people, contexts. Friendship in this sense is both a set-up for working and a dimension of production. The line of thought that threads through the following pages is thus that of friendship as a form of solidarity: friends in action.’ — Céline Condorelli in conversation with Nick Aikens, Avery F. Gordon, Johan Frederik Hartle and Polly Staple
Conversations weave through the work of Céline Condorelli, whether in the sculptural structures of her artwork, through the writing and discourse that is embedded in her work, or in the practice of support that frames her activities. Here, five conversations with friends explore working together, the politics of the company one chooses to keep, and friendship between both people and with ideas. Condorelli’s starting point is a conversation with philosopher Johan Frederik Hartle, raising questions of why the philosophical discourse on friendship is exclusively by, and only about, men? Following this, the three part conversation with sociologist Avery F. Gordon explores the possibilities opened up by this exclusion, lead by slaves, migrants, women and pirates, to what it means to make common cause and live ‘as if free to determine one’s own terms of living’.
The final conversation with Polly Staple and Nick Aikens, the curators of her exhibitions Céline Condorelli (Chisenhale Gallery, London) and Positions (Van Abbemuseum), addresses the practice of friendship and support embedded in Condorelli’s work as an artist and how exhibition making can be understood in relation to the question of how to work together. Running alongside each conversation is a series of images reproduced from The Company We Keep.
The Company She Keeps is co-published by Book Works, Chisenhale Gallery, London, and Van Abbemuseum, Eindhoven, as part of our Co-Series, No. 7, in an edition of 1,000 copies, black and white with one colour, 20 images, 120pp, with a soft cover. Designed by An Endless Supply, 147 mm x 220 mm.
This publication accompanies the exhibitions Céline Condorelli at Chisenhale Gallery, London, and Positions at Van Abbemuseum, Eindhoven, 2014 supported by Ammodo and Stichting Promotors Van Abbemuseum.
2015, English / French
Softcover, 256 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - In stock -
Some Partial Views:
Sigmar Polke’s Reception in the United States and Germany in the 1980s
— MAGNUS SCHAEFER
Interview with Magnus Schaefer
— CATHERINE CHEVALIER
Interview with Guy Tosatto
On Some Models of Artist/Gallery Relations
— TABLE RONDE AVEC MARIE ANGELETTI, CAMILLE BLATRIX, HÉLÈNE FAUQUET, RENAUD JEREZ, MÉLANIE MATRANGA, MODÉRÉE PAR CATHERINE CHEVALIER & EDOUARD MONTASSUT
Visual Insert
— ELLIE DE VERDIER
REVIEWS
The Desaturation of Graffiti. On Amy Lien and Enzo Camacho at Mathew, Georgie Nettell at Lars Friedrich, Berlin and Dave Miko, Ned Vena and Antek Walczak at Algus Greenspon, New York
— TANJA WIDMANN
Paris de Noche. On “Paris Noche” at Night Gallery, Los Angeles
— JAY CHUNG
Dengled Up in Blue. On Verena Dengler at Meyer Kainer in Vienna
— LILI REYNAUD DEWAR
Eternal Return. On “Call and Response” at Gavin Brown and “Forever Now” at the MoMA, New York
— KARI RITTENBACH
Between the Archer and the Target. On Daniel Pommereulle at the musée des Beaux-Arts, Valenciennes
— HÉLÈNE FAUQUET
Rain Over Water. On Hans Christian Lotz at David Lewis, New York
— SAM PULITZER
2015, English / Portuguese
Softcover (die-cut), 300 pages, 28.5 x 22.5 cm
Published by
Serralves Museum of Contemporary Art / Porto
$58.00 $30.00 - Out of stock
Since the second half of the 20th century, we have lived under the shadow of two clouds: the mushroom cloud of the atomic bomb, and the ‘cloud’ of distributed information networks. How did the central metaphor of cold war paranoia become the utopian metaphor of today? ‘Under the Clouds’ explores the contemporary sublime that has replaced the natural one, and the interrelated effects and affects of these two clouds on life and work, leisure and love, and on images, bodies, and minds.
The post-war technologies of the emergent third industrial revolution have now evolved to fit in the palm of our hand; we no longer merely look at images, we now touch, scroll, pinch, and drag them. Where is the border between the self and its data shadow, between information, matter, and affect? The biological, economic, aesthetic, and political effects of living under the clouds has taken the form of new relations between data and material, as well as increasing debt and abstract financialization; the changing nature of work and sex; and new relationships between screens, images, and things. As earlier forms of technologically inflected art sought to mitigate the effects of change — both on perception and society — many of today’s artistic practices confront the myriad interfaces and decentralized networks that continue to shape and transform daily life, forming new evolving connections between bits and atoms.
Texts by
Enrico Baj & Sergio Dangelo, Thomas Hirschhorn, Sean Landers, Metahaven, Seth Price, João Ribas, Frances Stark, Hito Steyerl, Stan VanDerBeek
Artists
Adel Abdessemed, Horst Ademeit, Cory Arcangel, Arte Nucleare, Darren Bader, Enrico Baj, Robert Barry, Eduardo Batarda, Thomas Bayrle, Neïl Beloufa, René Bertholo, Joseph Beuys, K.P. Brehmer, Bruce Conner, Kate Cooper, Gregory Corso, Guy Debord, Harun Farocki, Hans-Peter Feldmann, Carla Filipe, General Idea, Melanie Gilligan, Jean-Luc Godard & Anne-Marie Miéville, Peter Halley, Rachel Harrison, Mona Hatoum, Pedro Henriques, Thomas Hirschhorn, Yves Klein, Sean Landers, Elad Lassry, Mark Lombardi, Julie Mehretu, Katja Novitskova, Ken Okiishi, Trevor Paglen, Nam June Paik, Silvestre Pestana, Pratchaya Phinthong, Seth Price, Martha Rosler, Thomas Ruff, Jacolby Satterwhite, Ângelo de Sousa, Frances Stark, Haim Steinbach, Hito Steyerl, Jean Tinguely, Adelhyd van Bender, Stan VanDerBeek, Andy Warhol, Christopher Williams, Christopher Wool, Anicka Yi
2015, English / Italian
Softcover (newspaper), 334 pages, 25 x 36 cm
Published by
Mousse Publishing / Milan
$18.00 - Out of stock
Mousse 51 is a photo issue dedicated to exhibitions from 1985 to 1995, the last ten years or so before exhibitions went online, and possibly, before the exhibition view became a requisite genre. Up to 20 years ago, galleries and museum, art magazines and schools had no websites; viewing a show would mean, quite simply, visiting it. A great number of seminal shows—from small but consequential artists’ debuts in private galleries, to the innovative biennial iterations in new territories and continents, to thematic and now historicized institutional exhibitions—were richly studied, avidly discussed, but poorly photographed, if at all. This issue is an album of recommendations, for which we are very grateful to all the writers, artists, curators, dealers, and friends who accepted to share with us their favorite shows.
The Artist as Curator
Issue #10 an insert in Mousse Magazine #51
This is the last installment of The Artist as Curator, a serial publication* examining the fundamental role artists have played as curators, from the postwar period to the present, edited by Elena Filipovic, that appeared as a special insert in Mousse over the past two years. In this issue, Natalie Musteate discusses Womanhouse (1972) by Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program, while Ekaterina Degot addresses Avdey Ter-Oganyan’s Toward the Object from 1992. This installment is realized in partnership with the Centre d’art Contemporain Genève and Museo Marino Marini, Florence.
2014, English
Softcover, 134 pages, 8 x 11 cm
Ed. of 400,
Published by
Internationalistisk Ideale / København
$18.00 - Out of stock
Søren Andreasen & Lars Bang Larsen
The Critical Mass of Mediation
Today mediation is a cultural given: an environment, a rhythm, a force. It is a modality for easy exchange, with no apparent beginnings or ultimate reason. In this realm of the possible, means and ends get mixed up, while absolutes can only be approached timidly.
Expanded version of the sold-out original from 2012,
with a new introduction, additional text pieces and found imagery, in an edition of 400 copies.
2015, English
Softcover (w. DVD), 128 pages, 13 x 20 cm
Published by
International House / Philadelphia
$48.00 - Out of stock
Free to Love looks at a selection of films from the 1960s and 70s, both commercial and experimental, to investigate how issues surrounding sexual liberation and the undoing of censorship laws manifested themselves in moving-image art from around the world. While the sexual revolution cannot simply be viewed as one unified movement, its conflicts and contradictions inspired some of the most important films from this period, asserting sexual power in an era when "power to the people" was the motto. The essays examine key works and individuals associated with the cinema of the sexual revolution (Radley Metzger, Pat Rocco, Phyllis and Eberhard Kronhausen), and the book includes a DVD of three short films: Desire Pie (Lisa Crafts, 1976), A Quickie (Dirk Kortz, 1970) and Norien Ten (John Knoop, 1972). Also included is a discussion with A.K. Burns, Barbara Hammer, M.M. Serra and A.L. Steiner.
2015, English
Softcover, 286 pages, 16.5 x 22 cm
Published by
Sternberg Press / Berlin
$38.00 - Out of stock
Christiane Erharter, Hans Scheirl, Dietmar Schwärzler, Ruby Sircar (Eds.)
Contributions by Madeleine Bernstorff, Cana Bilir-Meier, Kaucyila Brooke, Anna Daučikova, Vaginal Davis, Christiane Erharter, David J. Getsy, Jack Halberstam, Harmony Hammond, Stefan Hayn, Nanna Heidenreich, Daniel Hendrickson, Werner Hirsch, Nina Hoechtl, G. B. Jones, Jakob Lena Knebl, Michael Lucid, Ulrike Müller, Barbara Paul, Johannes Porsch, Karol Radziszewski, Raed Rafei, Roee Rosen, Hans Scheirl, Dietmar Schwärzler, Katia Sepúlveda, William J. Simmons, Ruby Sircar, Eliza Steinbock, Ginger Brooks Takahashi
Pink Labor on Golden Streets: Queer Art Practices builds on an exhibition and conference at the Academy of Fine Arts Vienna that explored the contradictory standpoints of queer art practices, conceptions of the body, and ideas of “queer abstraction,” a term coined by Judith Jack Halberstam that raises questions to do with (visual) representations in the context of gender, sexuality, and desire. It is particularly concerned with where form and politics crossover, citing the various combinations, juxtapositions, and the play between artistic strategies.
This publication brings together papers from the 2012 conference and writing on artworks and art practices. In addition to testimonials from queer performers on the topic of “drag,” the book also includes interviews, essays, collage, and more personal writing. By placing these contemporary practices in a historical perspective and revising the perceived divergence between artistic attitudes and formal approach, this publication offers diverse and thought-provoking points of view.
Publication Series of the Academy of Fine Arts Vienna, vol. 17
Design by Surface
2014, English
Softcover, 342 pages, 14.8 x 21 cm
Published by
Sternberg Press / Berlin
$38.00 - Out of stock
With contributions by Jennifer Allen, Sabeth Buchmann, Annett Busch, Nils Büttner, Marcus Coelen, Discoteca Flaming Star, Helmut Draxler, Felix Ensslin, Mechthild Fend, Susanne Leeb, Christoph Menke, Frank Ruda, Jan de Vos, Charles T. Wolfe
Word becomes flesh, God becomes pigment, beauty becomes empirical form, power negotiates itself in matter—and vice versa: these are some of the connotations carried by the aesthetics of the flesh.
Flesh has been negotiated with the incarnate, the skin-like surface of paint transcends its material condition toward the embodiment of spirit. But flesh is also, for example, behind the postcolonial metaphor of anthropophago (i.e., incorporating multiple cultural traditions that are at war with each other). It can be further associated with the material of surgery, itself an heir to contradictory impulses—namely, the discourse of modern aesthetics on the one hand, and of a positivist, even naïve scientism on the other. Flesh is the topos of a thought that is unthinkable and the amoral site where force is creative. Philosophically, these primal scenes of the flesh are grouped by Descartes, and also in the radical enlightenment of philosophical materialism. Following on from Cartesian dualism, philosophy is faced with the task of valorizing the flesh beyond the religious support of incarnation. Finally, the never-ending thought which sees the flesh as an unattainable other appears—always present in its absence in each and every aesthetic discourse.
This reader, based on a three-day symposium at the State Academy of Fine Arts, Stuttgart, traces the aesthetic concept of flesh in four sections: “Cut Power Matter,” “Form Cannibalism,” “Flesh Skin Surface,” and “Word Flesh Thought.” From perspectives as diverse as art history, religion, psychoanalysis, psychology, materialist philosophy, phenomenology, surgery, film studies, and literary studies, the articles present this concept, while at the same time showing how it surpasses the attempts to systematize or define it.
Design by Matthias Christ, Philipp Schmidt, Stuttgart
2015, English / German
Softcover, 174 pages, 21 x 30 cm
Published by
Kunstverein München / Münich
Roma / Amsterdam
$38.00 $20.00 - Out of stock
Since its establishment in 2006, the design and publishing collaborative Dexter Sinister (David Reinfurt, Stuart Bailey) has been busy working at the intersection of graphic design, publishing, and contemporary art. Through a workshop mentality, it combines the characteristically distinct identities of designer, producer, publisher, and distributor. This volume comprises a four-part collection of electronic works by Dexter Sinister, produced from 2008 to 2015, and mimics the memory stick released in parallel to an eponymous exhibition at Kunstverein München, complete with a speaking asterisk as guide. It is related to three previous engagements of the artists in 2015.
1990, English
Softcover (french-folds), 34 x 25 cm
1st edition, Out of print title / used*,
$110.00 - Out of stock
TERRAZZO 4
Spring 1990
COLORS
3 surveys of thoughts and ideas on the subject of color
ETTORE SOTTSASS
Large, medium and small size private houses
Letter by Aldo Rossi
photographs by Santi Caleca
TRAVEL NOTES
by Ettore Sottsass
on architectural drawings
HELMUT NEWTON
Cities and towns
TOMBSTONE: FOUR PIECES AND CODA ON THE IDEA OF BURIAL
by Francesco Pellizzi
photographs by Ettore Sottsass
CRAIG HODGETTS MING FUNG
You send me
by Herbert Muschamp
CARLOS HIMENEZ
interview by Viola Marquez
C.A.D.
by David Kelley
VERY RARE AND IMPORTANT
by J.B. Archer
PLANS (No. 4)
A baroque story
by Luigi Seraini
MASSIMO GIACON FRESCOS 1988-1989
by Ambrogio Borsani
photographs by Santi Caleca
1991, English
Softcover (french-folds), 34 x 25 cm
1st edition, Out of print title / used*,
Published by
Terrazzo / Milan
$130.00 - Out of stock
TERRAZZO was a very special biannual publication on architecture and design, edited and published between 1988–1995 by Barbara Radice, a prominent Italian author, design critic and member of the Memphis Milano design group. In conjunction with Ettore Sottsass, Christoph Radl, Anna Wagner and Santi Caleca, Radice created a unique and thoughtful periodical that focused on contemporary works of design and architecture, within Italy and abroad, touching on a vast array of disciplines in each issue, including literature, poetry, history, science, philosophy, art and anthropology.
TERRAZZO 6
Spring/ Summer 1991
240 pages of photographic reportages on the world largest metropolises
LE CORBUSIER
TRAVEL NOTES
by Ettore Sottsass
on the nature of metropolises
HUMANISM VERSUS ENVIRONMENTALISM
by Andrea Branzi
MOSCOW
by Helmut Newton
PLANS (No. 5)
The Russian Suprematists
1992, English
Softcover (french-folds), 34 x 25 cm
1st edition, Out of print title / used*,
Published by
Terrazzo / Milan
$130.00 - Out of stock
TERRAZZO was a very special biannual publication on architecture and design, edited and published between 1988–1995 by Barbara Radice, a prominent Italian author, design critic and member of the Memphis Milano design group. In conjunction with Ettore Sottsass, Christoph Radl, Anna Wagner and Santi Caleca, Radice created a unique and thoughtful periodical that focused on contemporary works of design and architecture, within Italy and abroad, touching on a vast array of disciplines in each issue, including literature, poetry, history, science, philosophy, art and anthropology.
TERRAZZO 7
Spring 1992
ARATA ISOZAKI
Architecture with or without irony by Arata Isozaki
photographs by Yasuhiro Ishimoto
SITE
Green architecture by James Wines
TRAVEL NOTES
by Ettore Sottsass
on kitchens
photographs Ettore Sottsass
PLANS (no. 6)
African Compounds and Villages
1992, English
Softcover (french-folds), 34 x 25 cm
1st edition, Out of print title / used*,
Published by
Terrazzo / Milan
$130.00 - Out of stock
TERRAZZO was a very special biannual publication on architecture and design, edited and published between 1988–1995 by Barbara Radice, a prominent Italian author, design critic and member of the Memphis Milano design group. In conjunction with Ettore Sottsass, Christoph Radl, Anna Wagner and Santi Caleca, Radice created a unique and thoughtful periodical that focused on contemporary works of design and architecture, within Italy and abroad, touching on a vast array of disciplines in each issue, including literature, poetry, history, science, philosophy, art and anthropology.
TERRAZZO 8
Fall 1992
EMPTINESS
by Aldo Gargani
KISHIN SHINOYAMA
Tokyo
STONES
photographs by Christina Bischofberger
POMPEI, ERCOLANO, OPLONTIS
photographs by Santi Caleca
BEYOND WALLS
by Sergio Capelli and Patrizia Ranzo
TRAVEL NOTES
by Ettore Sottsass
on ruins
photographs by Ettore Sottsass
THE WAYSIDE ART OF INDIA
by Priya Moolcerjee
PLANS (No. 7)
XVIII Century - Visionary Architecture
1995, English
Softcover (french-folds), 34 x 25 cm
1st edition, Out of print title / used*,
Published by
Terrazzo / Milan
$130.00 - Out of stock
TERRAZZO was a very special biannual publication on architecture and design, edited and published between 1988–1995 by Barbara Radice, a prominent Italian author, design critic and member of the Memphis Milano design group. In conjunction with Ettore Sottsass, Christoph Radl, Anna Wagner and Santi Caleca, Radice created a unique and thoughtful periodical that focused on contemporary works of design and architecture, within Italy and abroad, touching on a vast array of disciplines in each issue, including literature, poetry, history, science, philosophy, art and anthropology.
TERRAZZO 10
Fall/Winter 1995
ALDO G. GARGANI
Aesthetics
ARATA ISOZAKI
Phenomenology of floors
MEDITERRANEAN PASTA
Barbara Radice
Six Recipes
photographs by Santi Caleca
TRAVEL NOTES
by Ettore Sottsass
on Fujian's Round Houses
VERY ANCIENT CHINA
universe, geometry, numbers, architecture
ANDREA BRANZI
Development and Reduction
LUOGHI
research by Milco Carboni
Plans (no. 9)
research by Beppe Caturegli and Giovannella Formica
2015, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$32.00 $15.00 - In stock -
ISSUE NO. 100
DECEMBER 2015
„THE CANON“
“Our 100th issue is dedicated to the question of the “canon.” We take up this theme with an interest in reflecting on the journal’s own role in the field of contemporary art — one that, when first initiated in 1990, was markedly counter-canonical, vigorously contesting certain methods of critique while supporting others. And yet, we pause here to acknowledge that after 25 years, we have also doubtlessly played a crucial part in shaping a particular discourse, even normativizing it to some degree. Could it even be said that TzK has established a canon in its own right? With this issue, we now take stock of what TzK’s relationship to the canon might be, and moreover, what the notion of canonicity in 2015 might now represent.”
ISSUE NO. 100 / DECEMBER 2015 “THE CANON”
TABLE OF CONTENTS
PREFACE
TOM HOLERT IN PRAISE OF PRESUMPTUOUSNESS: “KANON-POLITIK ” (1992) REVISITED
DIEDRICH DIEDERICHSEN
MIKE KELLEY
SABETH BUCHMANN
MEDIAL (SELF-)MOVEMENT
ISABELLE GRAW
CANON AND CRITIQUE: AN INTERPLAY / Heimo Zobernig
JULIANE REBENTISCH
25 ARTISTS FROM 1990 TO 2015 / And 25 reasons why each belongs in the Texte zur Kunst canon
GERTRUD KOCH
POLYPHONY OR DISSONANCE / Are there artists lost in the canon?
KERSTIN STAKEMEIER
MORE MANNERISM / Ruth May and Jan Molzberger
GUNTER RESKI
EMBEDDED NUDES / Arno Rink
ALEXANDER GARCÍA DÜTTMANN
OLD WOMEN / Maria Lassnig’s “Du oder ich” (You or me), 2005
BEATE SÖNTGEN
ROSEMARIE TROCKEL
NICK MAUSS
IAN WHITE
TESS EDMONSON
DIS
HANNA MAGAUER
POST-INTERNET: THE NEW ORDER
JOSEPHINE PRYDE
THE INDIVIDUAL
CAROLINE BUSTA
BAD CANON
SIMON DENNY
DISRUPT
KEN OKIISHI
CITIZENSHIP
VALENTINA LIERNUR
SELF-REFLECTIVE SUBJECTS
JUTTA KOETHER
FIGURE OF PAINT: ON THE INCONTROVERTIBLE!
ALICE CREISCHER AND ANDREAS SIEKMANN
TUCUMÁN ARDE
PAMELA M. LEE
GROUP MATERIAL
FELIX VOGEL
MARTIN BECK
SVEN BECKSTETTE
STURTEVANT
CLAIRE FONTAINE
TOWARD A CANONIC FREEDOM
SVEN LÜTTICKEN
FALLING APART, TOGETHER
ROBERT KULISEK AND DAVID LIESKE
HUSBANDS HAVE GOT TO DIE! / A conversation about Taryn Simon
BRIGITTE WEINGART
GREAT & SMALL
HELMUT DRAXLER
CANON OF EXISTENCE, ETHICS OF THE BREAK
ROTATION
ELECTROCONVULSIVE LIT / John Kelsey on Sylvère Lotringer’s “Mad Like Artaud”
REVIEWS
VERWISCHTE GRENZEN / Robert Müller über „Radikal Modern. Planen und Bauen im Berlin der 1960er-Jahre“ in der Berlinischen Galerie
AGING INTO NEW WORLDS: DEUTSCH-AMERIKANISCHE FREUNDSCHAFT / Bettina Funcke surveys five fall 2015 shows in New York
ANGEWANDTER HISTOMAT / Ariane Müller über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
ENIGMA IN THE MIRROR / Luis Felipe Fabre on “In Girum Imus Nocte et Consumimur Igni” at Museo Jumex, Mexico City
WHERE ANGELS FEAR TO TREAD / Nuit Banai on R. H. Quaytman at the Tel Aviv Museum of Art
IST KUNST EIN SEXUALPROBLEM? / Eva Birkenstock über Lea Lublin im Lenbachhaus, München
HERE'S NOT HERE / Damon Sfetsios and Elise Duryee-Browner on Stephan Dillemuth at Reena Spaulings Fine Art, New York
WEAK LOCAL LINEAMENTS / Gareth James on Sam Lewitt at the CCA Wattis Institute for Contemporary Arts, San Francisco
OBITUARIES
PETER SCHEIFFELE (1971–2015)
by Ilka Becker
CHANTAL AKERMAN (1950–2015)
by Tim Griffin
EDITION
JOHN BALDESSARI
NHU DUONG
PETER FISCHLI/DAVID WEISS
WADE GUYTON
RACHEL HARRISON
SARAH MORRIS
ALBERT OEHLEN
RICHARD PHILLIPS
SETH PRICE
GERHARD RICHTER
ROSEMARIE TROCKEL
2014, English
Softcover, 264 pages, 16 x 22 cm
Published by
Open Editions / London
$48.00 - Out of stock
This anthology of newly commissioned texts presents a series of detailed examples of the different kinds of knowledge production that have recently emerged within the field of curatorial practice. The first volume of its kind to provide an overview of the theme of research within contemporary curating,Curating Research marks a new phase in developments of the profession globally. Consisting of case studies and contextual analyses by curators, artists, critics and academics, including Hyunjoo Byeon, Carson Chan and Joanna Warsza, Chris Fite-Wassilak, Olga Fernandez Lopez, Kate Fowle, Maja and Reuben Fowkes, Liam Gillick, Georgina Jackson, Sidsel Nelund, Simon Sheikh, Henk Slager, tranzit.hu, Jelena Vestic, Marion von Osten and Vivian Ziherl, and edited by curators Paul O’Neill and Mick Wilson, the book is an indispensible resource for all those interested in the current state of art and in the intersection between research and curating that underlies exhibition-making today.
2013, English
Softcover, 166 pages, 16 x 21 cm
Published by
Open Editions / London
$50.00 - Out of stock
The current economic situation and society’s low confidence in its institutions has suddenly demanded that artists become more imaginative in the way that they organise themselves. If labels such as ‘alternative’, ‘non-profit’ and ‘artist-run’ dominated the art scene that emerged in the late 1990s, the separatist position implied by the use of these terms has been moderated recently. This new anthology of accounts from the front line includes contributions by artists, as well as their institutional counterparts, that provide a fascinating observation of the art world as matrix of interconnected positions where the balance of power and productivity constantly shifts.
Features: Julie Ault, Maibritt Borgen, Céline Condorelli & Johan Frederik Hartle, Anthony Davies, Stephan Dillemuth & Jakob Jakobsen, Ekaterina Degot, Charles Esche & David Riff, Barnaby Drabble, Jonas Ekeberg, Linus Elmes, Juan A Gaitán, Abdellah Karroum, Livia Pancu, Jan Verwoert, What, How & For Whom/WHW
Stine Hebert & Anne Szefer Karlsen (Eds.)
2014, English
Softcover, 430 pages, 11.5 x 17.5 cm
Published by
Sequence Press / New York
Urbanomic / Cornwall
$45.00 - Out of stock
Object-Oriented Philosophy: The Noumenon's New Clothes
Peter Wolfendale
Published by Urbanomic
October 2014
Postscript by Ray Brassier
Paperback 115x175mm, 430pp.
ISBN 978-0-9575295-9-5
How does the patience and rigour of philosophical explanation fare when confronted with an irrepressible desire to commune with the object and to escape the subjective perplexities of reference, meaning and sense?Moving beyond the hype and the inflated claims made for 'Object-Oriented' thought, Peter Wolfendale considers its emergence in the light of the intertwined legacies of twentieth-century analytic and Continental traditions.
Both a remarkably clear explication of the tenets of OOP and an acute critique of the movement's ramifications for philosophy today, Object-Oriented Philosophy is a major engagement with one of the most prevalent trends in recent philosophy.
Object Oriented Ontology is the last chapter in the interminable saga of the struggle between realism and transcendentalism. It attempts to undo the transcendental turn and resuscitate the precritical notion of reality in which humans are not subjects but one among many actants. What Peter Wolfendale does in his detailed and forceful analysis is what Kant did to Swedenborg: to dispel the mist of vibrant (spiritualized) materiality. What Voltaire said about god should be repeated about this book: if it didn't exist, we would have to invent it.
Slavoj Žižek
Contents
Preface
Introduction
The Lava That Dare Not Speak Its Name
1.1. Withdrawal
1.2. The Fourfold
1.3. Vicarious Causation
The Withdrawal Of Arguments
2.1. Tools, Knowledge, And Distinctness
2.2. Heidegger, Husserl, And Kripke
2.3. Occasionalism, Independence, And Supplementation
Objection-Oriented Philosophy
3.1. Sense And Sensuality
3.2. Qualities And Qualia
3.3. What Are Relations Anyway?
3.4. What Are Objects Anyway?: On Ontological Liberalism
3.5. What is Metaphysics Anyway?
3.6. What Does It All Mean?
Speculative Dystopia
4.1. The Spectre Of The Past
4.2. The Sins Of The Present
4.3. The Horrors Of The Future
Specious Realism
Ray Brassier
Postscript: Speculative Autopsy
2014, English
Softcover, 1013 pages, 11.5 x 17.5 cm
Edition of 1500 numbered copies,
Published by
Urbanomic / Cornwall
$62.00 - Out of stock
Collapse Volume VIII: Casino Real
Robin Mackay (Ed.)
Philosophical Research and Development.
The wager is situated on the dividing line between pure lived action and autonomous speculation: at once an impetus toward the future, recognition of a radical novelty, risk; and, on the other hand, an attempt at domination through the imposition of order, the establishment of symmetries. Its essence, the unification of these two constitutive themes, is far from being clear.
Contents
ROBIN MACKAY - EDITORIAL INTRODUCTION
JEAN-LUC MOULÈNE - UNTITLED
AMANDA BEECH - The Church The Bank The Art Gallery
JEAN CAVAILLÈS - From Collective to Wager
STEVE FORTE - The Ultimate Cooler (Interview)
UNKNOWN ARTIST - Angel Deck with Linework
NATASHA DOW SCHÜLL - Engineering Chance
JASPAR JOSEPH-LESTER - A Guide to the Casino Architecture of Wedding
DAVID WALSH - From BlackJack to Monanism (Interview)
ANDERS KRISTIAN MUNK - Dice-Like and Distributed: Time Machines, Space Engines and the Enactment of Risk Markets
NICK LAND - Transcendental Risk
MILAN ĆIRKOVIĆ - The Greatest Gamble in History
JOHN COATES, MARK GURNELL, ZOLTAN SARNYAI - From Molecule to Market
NICK SRNICEK AND ALEX WILLIAMS - On Cunning Automata: Financial Acceleration at the Limits of the Dromological
SAM LEWITT - Notes from New Jersey
ELIE AYACHE - The Writing of the Market (Interview)
JON ROFFE - From a Restricted to a General Pricing Surface
SUHAIL MALIK - The Ontology of Finance: Price, Power, and the Arkhé-Derivative
QUENTIN MEILLASSOUX - Mallarmé's Materialist Divinization of the Hypothesis
SEAN ASHTON / NIGEL COOKE - Mr Heggarty Goes Down
GEGENSICHKOLLEKTIV - CAUTION
FERNANDO ZALAMEA - Peirce's Tychism: Absolute Contingency for our Transmodern World
MICHEL BITBOL - Quantum Mechanics as Generalised Theory of Probabilities
ELIE AYACHE - A Formal Deduction of the Market