World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
THURS 11-5 PM
FRI 11-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
$28.00 - Out of stock
Within this book, Helen Johnson considers the operations of painting today, proposing means by which painting, as an aesthetic practice, might continue to make a critical address. She describes the book thus, “Being a painter in a post-medium specific context does not mean approaching painting as some sort of anachronistic refuge, or thinking that the modernist project of the specific medium can be rehabilitated, or even continue to be flogged. As a site for the production of meaning, painting is a rich field of loadings, neuroses and suggestiveness that can mesh with aesthetic qualities to make a charged conceptual space. Focusing on works by Juan Davila and Martin Kippenberger, this book proposes an extended understanding of how painting can operate aesthetically, grounded in Immanuel Kant’s formulation of aesthetic experience as implicitly connected to critical reflection. Kant’s Critique of Aesthetic Judgement constitutes the basis of a mobilisation of aesthetics for the reading of painting beyond formalism, embracing aesthetic criticality as an open position of refusal, rather than the dogmatic pursuit of a rational conclusion.”
Softcover, 72 pages, 15 x 22.5 cm
Ed. of 500,
Published by 3-Ply / Victoria
$12.00 - In stock -
“Despite Mladen’s instruction to read this book when I have no time, when I am very busy, I first ‘properly’ read I have no time when I had a lot of time, while lying in bed in a hospital in the early 1990s. It was then that I began to understand that this small book was more than some small joke. I have no time, I have no time, I have no time… is for me a kind of mantra, to stop and think about what and why I am doing something, anything…Paradoxically the pursuit of laziness requires an active engagement in stealing back time. That activity becomes harder and harder when time seems to accelerate and is consumed by an endless quota of daily tasks (even supposedly art associated) and so this little book, first hand-written in 1978, becomes more and more important (to read properly) through time, especially when you are very busy…”
— Kerrie Poliness, Re-print #3: I Have No Time (1983 )
The Re-print project is a curated series that reintroduces out-of-print artist publications to a contemporary audience. The series also exploits the character of the reprints to insert interventions in public archives: introducing material that was never legally deposited, or reinserting previously archived publications in the form of mediated replications, thereby indexing the originals.
The book selected for Re-print #3 is Nemam vremena (1979) [I Have No Time (1979)] (1983) by Mladen Stilinović. The 1983 version was offset printed by Edition Dacic, Tubingen, in an edition of 150 copies. The specific book scanned for this Re-print was loaned from the collection of artist John Nixon.
Nemam vremena (1979) [I Have No Time (1979)] was the first printed version of ‘I Have No Time’, and was an Artist’s Edition, 70 copies. It was offset printed in Zagreb, seven sheets, softcover, stapled, 17.5 x 13.5 cm.
Nemam vremena (1978) [I Have No Time (1978)] was the original version of ‘I Have No Time’. It was handwritten by Mladen Stilinović in pencil on paper, nine sheets (four written on), cardboard covers, stapled, 17 x 24 cm.
Mladen Stilinović (April 10, 1947 - July 18, 2016) was a Croatian conceptual artist. He was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.
Softcover, 212 pages, 12.7 x 20.3 cm
Ed. of 70,
Published by 3-Ply / Victoria
$35.00 - In stock -
124,908 by Tara McDowell, with photography by Daro Sulakauri, experiments with how to document exhibitions in an embodied way. It deals with an exhibition that unfolded throughout the postindustrial city of Rustavi in the Republic of Georgia, in conjunction with the 2nd Tbilisi Triennial. The exhibition was titled for Rustavi’s population – 124,908 – and featured works by Xin Cheng, Leone Contini, Eliza Dyball, Clementine Edwards, George Egerton-Warburton, Cevdet Erek, Debris Facility, Emma Fitts, Amy Franceschini, Helen Grogan, Susan Jacobs, Ash Kilmartin, Ieva Misevičiūtė, Virginia Overell, and Kateřina Šedá. Echoing the model of Lucy R. Lippard’s numbers exhibitions from the early 1970s, Tara McDowell and assistant curator Nicholas Tammens invited artists to propose temporary artworks, which were installed in the city center, factory square, museum, theaters, pyramid and zoo, working with local artists, students, and Rustavi residents.
The images within the publication 124,908 were taken by photojournalist Daro Sulakauri over a single day (October 3, 2015) of the exhibition. The fragmented text that intersperses this image narrative reflects the fractured, time-skipping nature of the project’s composition. Lucy R. Lippard has reacted to the project as the “best understood account” of her numbers exhibitions, but 124,908 could also be characterised as facing the impossibilities of re-curation.
Design by Žiga Testen
$25.00 - In stock -
Edited by Fayen d’Evie, Matthew Linde, Spencer Lai and Jake Swinson
Design by Toby Tam
Contents include a feature text “The Banquet” by Monicas’s Gallery with Jessie Kiely, and image contributions from: Adam Wood, Anna-Sophie Berger, Aurelia Guo, Brendan Morris, Bror August, Caley Feeney, Chloé Elizabeth Maratta, Claire Barrow, D&K, Dara Allen, Eric Mack, Galen Erickson thanks to Matthew Drury, Callum Hawke, Oscar Khan and Arthur Marie, George Egerton-Warbuton, Giovanna Flores, Grace Anderson, H.B. Peace, Hamishi Farah, Hana Earles, Harry Burke, Jake Levy, Jessie Kiely, Joseph Geagan, Josey Kidd-Crowe, Kate Meakin, Kulisek-Lieske, Laura Fanning, Matty Bovan, Mel Paget, Milo Conroy, Misty Pollen, Nora Slade and Peter Guffield Linden, Rafael Delacruz, Rare Candy, Richard Malone,Ruth O’Leary, Ryohei Kawanishi, Sasha Geyer, Shahan Assadourian, Sophie Hardeman, Spencer Lai, Stefan Schwartzman, and Wiley Guillot.
Initiated by 3-ply and Centre for Style, HEROES conflates the artist book and the fashion magazine. The ‘hero look’ is a term used to describe the penultimate outfit of a designer’s collection. Often the most conceptually-driven moment of the runway, the hero outfit serves as a signpost for a designer’s signature style, not quotidian wearability. For this inaugural issue of HEROES, contributors were invited to approach the act of fashion design as a narrative of fanfiction, identifying as readers and fans of their own canon to generate a character or caricature of their personal style. With timeframes restricted to a day, techniques of assemblage and improvisation were privileged, as contributors constructed visceral manifestations of subjectivity through self-fashioned hero looks.
HEROES/Fanfiction includes a feature text “The Banquet” written by Monica’s Gallery with Jessie Kiely, that opens: “ACT I. It was within the candle-lit caverns beneath the wondrous castle bestowed upon The Fat Baron Oörif that the banquet took place. The air thick with magic…” Appropriating the fanfiction trope as a codified lookbook, the text weaves elaborate descriptions of characters and fantastical sub-plots, over the course of a banquet hosted for fifteen guests by a former trade tycoon, within his castle of soft provincial feel. Spiralling through philosophical, intersubjective and social commentary, this parallel universe lookbook interlaces acute reflections on meta-trends, personal freedoms and nested human artefacts.
Edition of 1000