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:
THU—FRI 12—6 PM
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
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
2021, English
Softcover, 224 pages, 13 x 20 cm
Published by
Archive Books / Berlin
$39.00 - In stock -
Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence.
Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.
Rather than assuming the interpretations of the terms were the same as their counterparts abroad, we decided to commission translations of a selection of key texts that we felt were instrumental in shaping the specific discourse around these terms.
Through these translations, our hope is that Japanese debates on intermedia can contribute to international discourse, and that works of Japanese Expanded cinema can be preserved, reenacted and analyzed with these discussions in mind.
Contributors: Go Hirasawa, Ann Adachi-Tasch, Julian Ross, Adachi Masao, Iimura Takahiko, Ishiko Junzō, Ishizaki Kōichirō, Jōnouchi Matoharu, Manabe Hiroshi, Matsuda Masao (a.k.a. Hirosawa Mina), Miyai Rikurō, Ōe Masanori, Satō Jūshin (Shigechika), Tone Yasunao.
Produced by Collaborative Cataloging Japan. Edited by Ann Adachi-Tasch, Go Hirasawa, Julian Ross.
2021, English
Softcover, 264 pages, 13 x 20 cm
Published by
Archive Books / Berlin
$52.00 - Out of stock
This publication presents a collection of essays, librettos, lyrics, memories, photos, personal anecdotes by musicians, visual artists, researchers and archivers that pays homage to the work and life of African-American composer, musician, performer, activist Julius Eastman, who was among the first composers to combine minimalist processes with elements of pop music. The book investigates his legacy beyond the predominantly Western musicological format of the tonal or harmonic and the framework of what is today understood as minimalist music. By trying to complicate, deny or expatiate on the notions of the harmonic, tonal hierarchy, the triadic, or even the tonal centre, Eastman's compositions explore strategies and technologies of attaining the atonal. One might be tempted to see Eastman in the legacy of Bartok, Schoenberg, Berg and others, but here too, it is worth shifting the geography of minimal tendencies and minimalism in music. It is worth listening and reading Eastman's music within the scope of what Oluwaseyi Kehinde describes as the application of chromatic forms such as polytonality, atonality, dissonance as the fulcrum in analysing some elements of African music such as melody, harmony, instruments and instrumentation. This publication constructs a non-linear genealogy of Eastman's practice and his cultural, political and social relevance, while situating his work within a broader rhizomatic relation of musical epistemologies and practices.
Julius Eastman (1940-1990) was an American composer, pianist, vocalist, and dancer whose work fell under minimalism. He was among the first composers to combine minimalist processes with elements of pop music. John Cage, Christian Wolff, and finally Morton Feldman, came from this school in New York. Only Julius Eastman remained outside, the last figure, the most solitary and enigmatic—undoubtedly also one of the most powerful. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned—including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.
Edited by Federica Bueti, Antonia Alampi, Bonaventure Soh Bejeng Ndikung.
Contributions by Antonia Alampi, Rocco Di Pietro, Kodwo Eshun, Federica Bueti, Sean Griffin, Sumanth Gopinath, Jean-Christophe Marti, Josh Kun, Elaine Mitchener, Malak Helmy, Bonaventure Soh Bejeng Ndikung, Marie Jane Leach, George E. Lewis, Berno Odo Polzer, Pungwe, Christine Rusiniak.
2021, English
Softcover, 160 pages, 12 x 19 cm
Published by
Archive Books / Berlin
$44.00 - Out of stock
Flowing, seeping, leaking, cascading, shaping. Electric Brine is a volume of poetry and critical essays by women voices from diverse fields such as literature, geography, media studies, history of life sciences, sociology, and poetics of science and fiction, each of them central to the independent curatorial research entity The World in Which We Occur (TWWWO, 2014-ongoing) and its associated online study group Matter in Flux. Conceived as an anthology and a register, it serves as a testimony to the initiative’s long-standing work of creative adaptation and ecological inquiry through a quest to situate a vision of material politics through the lens of six punctuated pieces on flow and fluids. The literary and scientific fabulations found in these pages speak of the conjunction of lived embodiment, the materialized quality of language, and the ability to trigger political imagination through reading, writing and witnessing. Each of these strands polyperform under TWWWO, for they can be traced, retroactively, to the themes present in the live event series, to Matter in Flux’s private study sessions, to the initiative’s collective writing work presented in public venues and publications. Also included in this volume is an appendix documenting the years of invitation and study, intricately linked to the ideological praxis of these overlaps.
Edited by Jennifer Teets
Co-edited by Elise Hunchuck and Margarida Mendes
With texts and contributions by Dionne Brand, Barbara Orland, Sophie Lewis, Esther Leslie, Hannah Landecker and Lisa Robertson
Introduced by Jennifer Teets and Margarida Mendes
Design by Sophie Keij and Atelier Brenda
Co-founded in 2014 by Jennifer Teets and Margarida Mendes,* The World in Which We Occur (TWWWO) is an independent curatorial research-based entity that collaborates with artists, scientists, science historians, philosophers, anthropologists, activists and more as it explores themes concerned with artistic inquiry, philosophy of science, and ecology. TWWWO began as a live talk-event series over the telephone and has thus expanded to other formats involving experiments with educational actions, discursive talks, and events via diverse methodologies. Read an interview with Post Brothers on TANK magazine here.
2021, English / Arabic
Softcover, 178 pages, 13 x 21 cm
Published by
Archive Books / Berlin
$29.00 - Out of stock
This publication presents four essays and one conversation with contemporary artists and curators from different backgrounds and origins (Jerusalem, Lebanon, Kuwait, USA, Egypt) who discuss their experience of becoming mothers as professionals in the arts, its reality and effects. While their reflections represent a similar strata of art worker in terms of background, class, and career trajectory, the impact of instruments of patriarchy on rendering maternity invisible that they describe is recognizable and insidious.
Edited by Mai Abu ElDahab
Contributions by Mai Abu ElDahab, Lara Khaldi, Mary Jirmanus Saba, Mirene Arsanios and Nikki Columbus and Basma Alsharif
2020, English
Softcover, 320 pages, 25 x 30 cm
Published by
Archive Books / Berlin
$90.00 - Out of stock
Ian Kiaer's new monograph is based on a project that the artist began several years ago and whose configuration changes with the circumstances. Drawing on the notion of marginal endnotes in books, it references the utopian concepts of the Austrian American architect Frederick Kiesler (1890-1965).
In the late 1940s, Kiesler—an atypical figure whose writings were a significant influence on postwar art, architecture and design—came up with the (unrealised) Tooth House, a residence modelled on the human tooth and integrated into its environment.
Guided by his reading of art history and architecture, and by the structural concerns underlying his own ideas, Kiaer has been developing an approach to painting as a "minor form". Each of his installations has a title linking it to a thinker, architect, philosopher or utopianist, with everyday objects and found materials assembled in such a way as to raise the question of their use and their appearance.
Here he continues his explorations of modernist architectural styles, taking as his cornerstone the Monsanto panoramic restaurant overlooking Lisbon, built by the architect Chaves da Costa in 1968. Intended as the embodiment of modernity, luxury and power as seen by Portugal's "New State" dictatorship (1933-1974), the building is now abandoned and as a ruin continues to ask questions of its history, politics and present position as a critical monument.
Published as part of the the eponymous exhibition at Musée d'Art Moderne de la Ville de Paris in 2017.
Ian Kiaer (born 1971 in London) produces fragile installations involving various architectural models, intact or slightly altered found objects and two-dimensional works to create fragmented narratives. His installations often function as projects or proposals, challenging notions of totality and permanence.
Venues for past solo exhibitions include the Neubaeur Collegium in Chicago, Lulu in Mexico City, the Henry Moore Institute in Leeds, the Aspen Art Museum, Kunstverein Munich and the Galleria d'Arte Moderna e Contemporanea in Turin. He has also taken part in group shows at Kunstshalle Berlin, MUDAM Luxembourg, the Rennes Biennial, Tate Britain, the British Art Show, the Hammer Museum in Los Angeles and the 10th Lyon Biennial.
2017, English
Softcover, 304 pages, 20 x 13 cm
Published by
Archive Books / Berlin
$42.00 - In stock -
Although the short-lived Brazilian cultural movement known as Tropicália is most commonly associated with music and the visual arts, its sense of playfulness and strategies of appropriation have stimulated many of the country’s filmmakers from the 1960s to the present. The term was first given to a pair of installations by Hélio Oiticica, a song by Caetano Veloso, and an LP released in 1968, featuring artists such as Gilberto Gil, Gal Costa and the psychedelic band Os Mutantes. But according to Veloso, the catalyst for the flurry of creative activity at this time was Glauber Rocha’s landmark film Terra em Transe (Land in Anguish, 1967). And, while Tropicália was cut down in its prime by Brazil’s repressive military dictatorship, its revolutionary gestures continued to make a mark on cinema in the following decades. Fifty years after its emergence, what is the legacy of Tropicália today? And what is its effect on filmmaking in Brazil? This publication brings together a range of filmmakers and scholars past and present to consider these questions, and to offer multiple perspectives on the history of a major period in Brazilian cultural history.
Contributions by Carlos Adriano, Augusto Barros, Ela Bittencourt, Ivan Cardoso, José Celso Martinez Corrêa, Max Jorge Hinderer Cruz, Albert Elduque, Helena Ignez, Scott MacDonald, Rubens Machado Jr., Pedro Neves Marques, Ricardo Miranda, Jorge O Mourão, Noilton Nunes, Arthur Omar, Eder Santos Jr., Rogério Sganzerla, Robert Stam, Ana Vaz, Caetano Veloso, Ismail Xavier, Bruce Yonemoto.
2018, English
Softcover, 280 pages
Published by
Archive Books / Berlin
Casco / Utrecht
If I Can’t Dance / Amsterdam
$42.00 - Out of stock
To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia from the seventies until today. These practices include those of the Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney including people involved in the Sydney Filmmakers Co-operative, Feminist Film Workers, Working Papers Collective, and the Department of General Philosophy at Sydney University; and Duoda – Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research forms a proposal for a transgenerational approach to feminist politics. This is further developed as a practical handbook of twenty new propositions for feminist collective practice, which were formed in collaboration with a network of contributors through experiments with these historical practices.
2013, English
Softcover, 272 pages, 11.5 x 18.5 cm
Published by
Archive Books / Berlin
$35.00 - Out of stock
Published on the occasion of Part Two at ICI Berlin, The Psychopathologies of Cognitive Capitalism: Part One collects the papers that were presented during the first part of the conference in Los Angeles in November 2012. This volume is the first of a series of books that attempts to broaden the definition of cognitive capitalism in terms of the scope of its material relations especially as it relates to the conditions of mind and brain in our new world of advanced telecommunication, data mining and social relations. It is our hope to first improve awareness of its most repressive characteristics and secondly to produce an arsenal of discursive practices with which to combat it.
About the series
A series that attempts to broaden the definition of cognitive capitalism in terms of the scope of its material relations especially as it relates to the conditions of mind and brain in our new world of advanced telecommunication, data mining and social relations. It is our hope to first improve awareness of its most repressive characteristics and secondly to produce an arsenal of discursive practices with which to combat it. Published in connection with the cycle of conferences “The Psychopathologies of Cognitive Capitalism”.
Edited by Arne De Boever and Warren Neidich
Texts by Jonathan Beller, Franco “Bifo” Berardi, Arne de Boever, Jodi Dean, Warren Neidich, Patricia Pisters, Jason Smith, Tiziana Terranova, Bruce Wexler
2013, English
Softcover, 376 pages, 11.5 x 18.5 cm
Published by
Archive Books / Berlin
$35.00 - Out of stock
The Psychopathologies of Cognitive Capitalism: Part Two is the second volume in a series which maps out the complex terrain of cognitive capitalism as an ontogeny in which its earlier phase has transitioned into a later phase that we are now beginning to experience. This volume collects together papers from a conference of the same name held at the Institute of Cultural Inquiry, Berlin, in the spring of 2013. The first part of the book delineates the recent emergence of characteristic psychopathologies of cognitive capitalism, which have resulted from the unique concatenation of social-political-psychological-economic relations that have produced distinct stresses and forms of derangement upon the factory of the brain. This leads to the second stream, referred to as “the cognitive turn”in cognitive capitalism. For example, as a result of the necessity for an efficient brain-mind to labor in the advanced and constantly accelerating conditions of the knowledge economy highly sophisticated and nuanced forms of attention have become compulsory well beyond what was considered essential in the older regimes of the modern. As such new dispositifs of normalization and governmentalization have arisen to, on the one hand, diffuse the attention necessary for multi-tasking, and on the other, to enhance the production of a hyper-attention. It is upon these and other similar conditions that this book concentrates. It calls for the identification of the causative factors of these psychopathologies as well as attempting to invent the counter conditions with which to thwart their emergence.
About the series
A series that attempts to broaden the definition of cognitive capitalism in terms of the scope of its material relations especially as it relates to the conditions of mind and brain in our new world of advanced telecommunication, data mining and social relations. It is our hope to first improve awareness of its most repressive characteristics and secondly to produce an arsenal of discursive practices with which to combat it. Published in connection with the cycle of conferences “The Psychopathologies of Cognitive Capitalism”.
Edited by Warren Neidich
Texts by Ina Blom, Arne De Boever, Pascal Gielen, Sanford Kwinter, Maurizio Lazzarato, Karl Lydén, Yann Moulier Boutang, Warren Neidich, Matteo Pasquinelli, Alexei Penzin, Patricia Reed, John Roberts, Liss C. Werner, Charles T. Wolfe
2017, English
Softcover, 512 pages, 11.5 x 18.5 cm
Published by
Archive Books / Berlin
$46.00 $20.00 - Out of stock
Contributions by Meena Alexander, Amanda Beech, Franco “Bifo” Berardi, Ray Brassier, David Burrows, Tyler Coburn, Jacquelene Drinkall, Mark Fisher, Bronac Ferran, Matthew Fuller, Liam Gillick, Melanie Gilligan, Scott Lash and Anthony Fung, Lambros Malafouris, Anna Munster, Warren Neidich, Dimitris Papadopoulos, Luciana Parisi, John L. Protevi, Howard Slater, Kerstin Stakemeier, Ryan Trecartin, Marina Vishmidt.
The Psychopathologies of Cognitive Capitalism is an ongoing event structure composed of symposia, workshops, and publications. Our intention is to raise consciousness by disseminating information about cognitive capitalism in general and its associated discourses.
This third volume of The Psychopathologies of Cognitive Capitalism emerges from deliberations that took place during two different symposia. The first was a collaboration between Warren Neidich and Mark Fisher at the Department of Visual Culture at Goldsmiths College, titled The Psychopathologies of Cognitive Capitalism Part Three: The Cognitive Turn, and the second was an event organized in conjunction with the Goethe-Institut Los Angeles, Noise and the Possibility of a Future. This book combines elements of both programs.
The previous two books examined the imminent subsumption of the economy by information technologies, resulting in a mutation of forms of post-Fordist capitalist accumulation. “Flexploitation” of labor processes and flexible specialization resulting from the evolving relation between management and labor, just-in-time production and consumption, rapid acceleration in the pace of product innovation, faster product turnover times, computer and robotic interventions an increase in the complexity of supply chains – all these combined to form the special assemblage that would define what we can now regard as the early phase of Cognitive Capitalism. The second volume started to sketch out its transformation from a form of subsumption characterized by immateriality to one that is speculative and material. This latter phase is the focus of the present volume, which concentrates on the plastic material brain, its hardware constituted by neurons and glial cells as well as its software, the dynamic rhythmicities that integrate electro-magnetic discharges along its circuits in response to events occurring inside and outside the skull – the body and its world. In this phase, the material brain in conjunction with the accelerated world with which it is imbricated becomes the site of an ontogenic battle between the forces of normalization and governmentalization on the one hand, and emancipation on the other, with consequences for the processes of individuation and collectivization.
Edited by Warren Neidich
Design by Archive Appendix
2017, English / German / Italian
Softcover, 104 pages, 12 x 18 cm
Published by
Archive Books / Berlin
$35.00 - Out of stock
In 1975 cars were made from metal, glass, some chrome and a bit of plastic. The majority had front and rear bumpers. Base models were sold without radios. GPS, which seems so crucial today, hadn’t yet been invented.
As a child in the 70’s Daniela Comani travelled with her parents in their car. She sat in the backseat and her favorite pastime was to list the cars that drove by, jotting down the name of the manufacturer and brand, with some additional information to make note of particular models, like “Giulia”, “500” or “Dyane”.
40 years later she found one of her old notebooks: a planner from 1975 with her list of cars. She researched photographs of the cars that were on the road in the 70’s, finding neutral images selected by the manufacturers for brochures. Some of these are icons of the 70’s and they define the spirit of the age, like the films, fashion and music of the time.
This project becomes an interesting social and historical study on style in the pre-globalized world and, above all, a kind of self-portrait.
2016, English
Hardcover, 80 pages, 16 x 23 cm
Published by
Archive Books / Berlin
$60.00 $45.00 - Out of stock
Display and its social dimensions are leitmotifs in the multiform art practice of Martin Beck. His exhibition ‘Last Night’ at Kunsthaus Glarus reflected on the relations between exhibiting and community by bringing together two bodies of works: one drawing on modern exhibition history, the other building on the history of countercultural communes in the 1960s and early ’70s United States. Summer Winter East West discusses Beck’s engagement with display not only as a tool of presentation but also as a form of communication – within and beyond the realm of the exhibition. What are the possibilities for imaging community? How can togetherness be presented (or present itself), and to what degree is exhibiting already an aspect of community building?
Edited by Christina von Rotenhan and Sabine Rusterholz Petko
Designed by Gregor Huber, Huber & Sterzinger, Zurich
2016, English / French
Softcover, 480 pages, 17x 24 cm
Published by
Archive Books / Berlin
$40.00 - Out of stock
Republications is the first volume of Archive Journal’s hors-séries. Each issue of the series is commissioned to authors whose research is close to the editorial line of the journal. For the inaugural issue Archive’s editors have invited curators and art critics Virginie Bobin and Mathilde Villeneuve. Taking as a starting point the notion of republication, the contents of this volume have been compiled through a collective process over the course of multiple editorial meetings in Berlin, Aubervilliers and Paris between 2011 and 2012.
Edited by Mathilde Villeneuve and Virginie Bobin
Contributions by Mathieu Kleyebe Abonnenc, Lene Berg, Pauline Boudry & Renate Lorenz, Christophe Bruno, Foundland, Jeff Guess, Alexis Guillier, Rémy Héritier, franck leibovici, Sohrab Mohebbi, Julien Prévieux, Sally Price, Anna Théodoridès, Vassilis Salpistis & Marie Voignier
2015, English
Softcover, 304 pages, 12 × 20 cm
Published by
Archive Books / Berlin
$35.00 - Out of stock
Anguish Language approaches language as a core aspect of the present social crisis. The project engages in solidarity with forms of self-publishing, poetry, criticism, experimental writing and declamation that have arisen in the wake of the 2007-8 financial crisis, considering language among and through the social struggles responding to its consequences.
Edited by John Cunningham, Anthony Iles, Mira Mattar and Marina Vishmidt
Designed by Archive Appendix
Essays by John Cunningham, Sean Bonney, Anthony Iles, Wealth of Negations, Mira Mattar, Anguish Language Copenhagen Group, Danny Hayward, Pier Paolo Pasolini...
2015, English
Softcover, 240 pages, 13 x 20 cm
Published by
Archive Books / Berlin
$40.00 - Out of stock
The anthology Politics of Memory aims to investigate the document as such, as an objective trace left by events, as material proof or the creation of reality – the strategies with which they transform a state of memory into state memory, those by means of which a historical removal is enacted, those, ultimately, in which there is an attempt to challenge permanent or temporary amnesia, opening up to the future. The artists and filmmakers contributing to this publication represent the most advanced area on an international scale of a research that inaugurates a new relationship between artistic practices and the documentary.
The artists’ contributions have been collected within the context of a cycle of conferences held between 2010 and 2013 and are re-presented here in a format aimed at highlighting their connections and common research perspectives. To this end, the volume is articulated in four sections and does not follow the chronological order of the conferences. The first section is dedicated to archival practices, the second to the memory of conflicts, the third to the documentary dispositive and the last to the representation of migration as a social practice and as the enactment of breaching boundaries.
Edited by Marco Scotini and Elisabetta Galasso
Contributions by John Akomfrah, Eric Baudelaire, Ursula Biemann, Harun Farocki, Yervant Gianikian and Angela Ricci Lucchi, Khaled Jarrar, Lamia Joreige, Gintaras Makarevičius, Angela Melitopoulos, Deimantas Narkevičius, Lisl Ponger, Florian Schneider, Eyal Sivan, Hito Steyerl, Jean-Marie Teno, Trinh T. Minh-ha, Wendelien van Oldenborgh, Clemens von Wedemeyer, Mohanad Yaqubi and Reem Shilleh
2015, English
Softcover, 212 pages, 15.5 x 23 cm
Published by
Archive Books / Berlin
$44.00 - Out of stock
The Museu Coleção Berardo in collaboration with Archive Books is publishing the book History and Interregnum. Three Works by Stan Douglas to mark the exhibition, featuring an extensive essay by Pedro Lapa, the artistic directorof the museum and the curator of this exhibition, which takes an in-depth look at the “trilogy” made up of Disco Angola (2012), Luanda-Kinshasa (2013) and The Secret Agent (2015). The book, which is replete with illustrations of these three works as well as two series of photographs showing their production, also includes the final version of the script for The Secret Agent by Stan Douglas himself.
Edited by Pedro Lapa
Texts by Stan Douglas and Pedro Lapa
Editorial coordination by Nuno Ferreira de Carvalho
Graphic design by Raquel Pinto
2015, English
Softcover, 280 pages 14.8 x 21 cm
Published by
Archive Books / Berlin
$46.00 - Out of stock
In this book devoted to the field of curating and “institutional art”, Žerovc raises questions about the character and limitations of the “exhibition-maker as artist” and the “exhibition as a work of art”, asking whether the socio-political objectives for the latter actually manifest contradictory or even opposite effects given the inescapable conditions of capitalism. The book culminates with Žerovc’s queries about the ritualistic function of contemporary art exhibitions, and this is evocatively expressed in her introduction: “There was once great discussion about how removing artworks from their original context and installing them in the museum meant their certain death. Today, it seems, we need to be thinking about different questions. Does the institution of visual art bring something to life … what, in fact, are we summoning to life?” (Mary Anne Staniszewski)
Pierre Restany, Zoran Kržišnik, Harald Szeemann, Daniel Buren, Charles Esche, Beautiful Freedom, Walter Benjamin, Mary Anne Staniszewski
2014, English
Softcover, 600 pages, 13 x 20 cm
Published by
Academy of Arts of the World / Cologne
Archive Books / Berlin
$58.00 - Out of stock
To eat a frog, the missionary Jesuit priest, the enemy tribe, the whole history of colonial domination in South America, is to serve your ancestor at a dinner table, without nostalgia, for what you are digesting is your future as a human— and that includes a frog-future as well.
In the sixteenth century, the image of Amerindian anthropophagy was at the center of disputes on the meaning of humanity. In the early twentieth century, it was again rediscovered by the Brazilian avant-garde associated with the imprint Revista de Antropofagia. Antropofagia is a cosmopolitical philosophy, a cannibal metaphysics extending well beyond a pacifying, multicultural view of appropriation. Eating another human is to cross the ontological boundaries imposed by Western modernity, capitalist labor, the Cartesian-Freudian self. Nature and culture are in the perspective of the hunter and the hunted. To become prey is the movement of humanity.
‘The Forest and The School: Where to sit at the dinner table?’ is co-published by Archive Books and the Academy of Arts of the World in Cologne. Edited by the writer and visual artist Pedro Neves Marques, this publication is a thorough anthology on Brazilian Antropofagia. It presents Antropofagia not simply as an aesthetic movement, based on acculturation or an hybridity exemplary of the tropics, but as a full scope South American cosmopolitics, defined by predation and the immanence of the enemy, by an humanity unbound from species, and a aimed at leisure.
The first half of the book, “The Forest and The School” gathers texts from sixteenth century chronicles on cannibalism, the Brazilian avantgarde, Tropicália, and the anthropology of Pierre Clastres, Bruno Latour, Eduardo Viveiros de Castro, as well as of Davi Kopenawa. The second half ‘Where to sit at the dinner table?’ collects recent texts and new commissions relating Antropofagia to multinaturalist perspectivism, the declaration of the Rights of Nature, or the centrality of the indigenous in current political struggles.
Edited by Pedro Neves Marques
Texts by Hans Staden, Jean de Léry,Michel de Montaigne, James Frazer, Manuela Carneiro da Cunha, Alfred Jarry, Oswald de Andrade, Antônio de Alcântara Machado, Oswald Costa, Freuderico, Japy-Mirim Poronominare, Garcia de Rezende, Raul Bopp, Flávio de Carvalho,Glauber Rocha, Joaquim Pedro de Andrade, Hélio Oiticica, Hélène Clastres, Pierre Clastres, Félix Guattari, Eduardo Viveiros de Castro, Bruno Latour, Davi Kopenawa and Bruce Albert, Tânia Stolze Lima, Alexandre Nodari, Jean Tible, Paulo Tavares, Giuseppe Cocco, Suely Rolnik
Designed by Nuno da Luz
2016, English
Softcover, 64 pages, 18.7 X 26 cm
Published by
Archive Books / Berlin
$20.00 - Out of stock
The Exhibitionist #12
Journal on Exhibition Making
Reflection
Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
Exhibitions are a social and collective form. Whether the products of a single artist or of a group, they gather together artworks (or objects, projects, residues) and construct from them an image of a social field. Just as understanding an exhibition involves thinking about the relations that exist among, and engender the possibility of imagining, that field, no less are exhibitions produced by a group. Beyond the artists and the exhibition maker(s) involved, an exhibition radiates from an expansive network: conservators, shippers, installers, writers, editors, designers, administrative types of all sorts, interns, guards, funders, promoters, and so on. Exhibitions are, furthermore, perceived by an audience or a public—another group—who are themselves internally divided and classed, cohesive or cacophonous....
contents
Response I: Artists and curators
Fia Backström and Anthony Huberman
Re: family dynamics
Anne Ellegood and Kerry Tribe
Long Term Relationship
Claire Fontaine and Jens Hoffmann
Artistic Bitches and Curatorial Bastards
Inés Katzenstein and Juan José Cambre
Agreement
Response II: Archival
Introduced by Liz Glass
Dear King Harry
James Lee Byars: Correspondence with Harald Szeemann (1988)
La critique
Triple Candie: Let the Artists Die
Emiliano Valdés: Who Has the Power?
Nontobeko Ntombela: Remastered
Daniel Birnbaum: Hijacking the Situationists
Slavs and Tatars: The Splits of the Mind, If Not the Legs
Rachel Rose: Artist, Curator, Meaning
+
An Illustrated Bibliography of the exhibitionist, Issues IX–XII
2014, English
Softcover, 84 pages (colour & b/w ill.), 18.7 X 26 cm
Published by
Archive Books / Berlin
$19.00 - Out of stock
Overture
Jens Hoffmann and Lumi Tan
Curator’s Favorites
Monika Szewczyk – Idolizing Twilight
Chen Tamir – Liminal Spaces
Hendrik Folkerts – WACK the Canon!
Back in the Day
Inés Katzenstein – Experiencias 68: A Threshold
Missing in Action
Lucy Lippard – After a Fashion: The Group Show
introduced by Chelsea Haines
Attitude
Massimiliano Gioni – What I Did Last Summer
Assessments: Bergen Assembly 2013: Monday Begins Saturday
Christopher Y. Lew – Workers’ Compensation
Ase Lovgren – More Verbs, Please
Laurel Ptak – Art in the Age of the Norwegian Semi-Social-Democratic-Post-Welfare-State
Johanne Nordby Werno – Love for Labour
Rigorous Research
Germano Celant – The Territories of Exhibition
Six x Six
Ngahiraka Mason, Fionn Meade, Pable Léon de la Barra, Fillipa Ramos, Maria Inés Rodriguez, Syrago Tsiara
Rear Mirror
Daniel Baumann, Dan Byers and Tina Kukielsky – Considering the 2013 Carnegie International
Jennifer Gross – The Société Anonyme’s Dada Destiny
Edited by Jens Hoffmann, Julian Myers-Szupinska, Lumi Tan
2011, English
Softcover, 91 pages, 190 x 260 mm
Published by
Archive Books / Berlin
$18.00 - In stock -
The Exhibitionist #4 – La Critique, Journal on Exhibition Making
In this issue: "Response I: the Artist and the curator - The Curatorial Paradigm", "Notes on the Paracuratorial", "The Limits of Interpretation, "Response II: toward a History of exhibitions - On the Value of a History of Exhibitions", "Inhabiting Exhibition History", "What History of Exhibitions?", "On Knot Curating", "Curating in the Academy", "Beyond Participation", "The Dog that Barked at the Elephant in the Room", "Curatorial Control", "Prolonged Exposure", "Curator with a Capital C or Dilettante with a Small d", and much more...
The Exhibitionist, a journal made by curators, for curators, focusing solely on the practice of exhibition making.The objective is to create a wider platform for the discussion of curatorial concerns – encourage a diversification of curatorial models, and actively contribute to the formation of a theory of curating.
Editor: Jens Hoffmann
Editorial board: Carolyn Christov-Bakargiev, Okwui Enwezor, Kate Fowle, Mary Jane Jacob, Constance Lewallen, Maria Lind, Chus Martínez, Jessica Morgan, Julian Myers, Hans Ulrich Obrist, Paul O’Neill, Adriano Pedrosa, Dieter Roelstraete, Dorothea von Hantelmann
Design: Jon Sueda and Jennifer Hennesy / Stripe, San Francisco
2011, English
Softcover, 63 pages, 190 x 260 mm
Published by
Archive Books / Berlin
$18.00 - Out of stock
The Exhibitionist, a new journal made by curators, for curators, focusing solely on the practice of exhibition making.
The objective is to create a wider platform for the discussion of curatorial concerns – encourage a diversification of curatorial models, and actively contribute to the formation of a theory of curating.
In this issue: Victoria Noorthoorn, Aspara DiQuinzio, Lars Bang Larsen, Doryun Chong, Stéphanie Moisdon, Tobias Berger, Carol Yinghua Lu, Jessica Morgan, Elisabeth Sussman, Shelly Bancroft, Peter Nesbett, Maria Lind, Jane Alison, Kathrin Romberg, Tara McDowell and Jens Hoffmann.
2011, English
Softcover, 52 pages, 160 × 230 mm
Published by
Archive Books / Berlin
$20.00 - Out of stock
Boetti? I am not sure what I can add. Alighiero made Conceptual art more human and perhapsless complicated. It sounds simple, and might be — but it probably isn't. His influence is as strong today as it has always been. He is like the fifth Beatle or even the sixth... his life seemed to follow a similar path? northern lad meets Asian mysticism in the late1960s. I think young artists find his humble and straight forward approach very appealing like navigating the thousand longest rivers in the world without a map but with the idea that there will be something magical around the next corner stop me
2010, English
Softcover, 210 x 190 mm
Published by
Archive Books / Berlin
$27.00 - Out of stock
A new exhibition of collaborative works by Jonathan Monk and Ariel Schlesinger.
The starting point of this series of works was a long distance dialogue, followed by an intense discussion centered around the idea of equilibrium and the failure of finding a perfect balance.
The work of “Balance Acts” comprises of 24 photographs by Swiss duo Fischli and Weiss. Each image has been carefully manipulated, installed within its own defined setting and illuminated by what appears to be a candle stick simply stuck into a wine bottle. Real objects have been added and real objects have been removed.
Dvir Gallery, Tel Aviv, Jaffa, October 30th – December 11th, 2010
Photography by Elad Sarig
Design by Sven Hausherr