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:
CLOSED FOR SUMMER
RE—OPENING JAN 16
WEB-SHOP OPEN 24/7
ORDERS SHIP FROM JAN 6
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
World Food Book Bag
Australian Art
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Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
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Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
2024, English / French
Softcover, 256 pages, 24 x 17.5 cm
Published by
May Revue / Paris
$34.00 - Out of stock
Introduction to Sylvère Lotringer's Interviews by Chris Kraus, interviews with David Wojnarowicz and Kathy Acker by Sylvère Lotringer, Machines for Looking by Karl Holmqvist, Anette Freudenberger on Hélène Fauquet, Gianmaria Andreetta on Yuki Kimura, Nick Irvin on Sam Pulitzer, Annie Ochmanek on Marc Kokopeli, Benoît Lamy de la Chapelle on Nicolas Ceccaldi, Shiv Kotecha on Klara Lidén and Hannah Black, Anke Dyes on Marie Angeletti, E.C. Feiss on Andrea Fraser, Thea Westreich Wagner, Our Guide to Comedy-Adventure by Bernadette Van-Huy.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, once a year, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2022, English / French
Softcover, 256 pages, 17.5 x 24 cm
Published by
May Revue / Paris
$36.00 - In stock -
Jay Chung, Claire Fontaine, Josef Strau, Alain Guiraudie, Bernadette Van-Huy, Helmut Draxler, Henrik Olesen by Thomas Duncan, Heji Shin by Benoît Lamy de la Chapelle, Marcel Proust by Yves-Noël Genod, Merlin Carpenter by Annie Ochmanek, Josephine Graf, Helmut Draxler, Megan Francis Sullivan and Nick Mauss, Dylan Byron and Isabelle Graw, Benjamin Lignel and Anne Dressen, Clément Rodzielski.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, once a year, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2021, English / French
Softcover, 256 pages, 17.5 x 24 cm
Published by
May Revue / Paris
$32.00 - Out of stock
I will not interpret Jack Smith. I will not interpret Jack Smith. I will not interpret Jack… — Felix Bernstein
Finally, a new issue of long standing favourite May revue, with a cover feature on American filmmaker, actor, performance artist and pioneer of underground cinema, Jack Smith (1932 –1989)!
Jack Smith (Michael Krebber, Felix Bernstein, Enzo Shalom, Branden W. Joseph), Gary Indiana, Bruce Hainley and Sohrab Mohebbi, Jean-Luc Godard by Ferdinand Gouzon, Leilah Weinraub by Juliana Huxtable, Nina Könnemann by Megan Francis Sullivan, Louise Lawler by Nick Irvin, Claire Fontaine by Anita Chari, Robert Malaval by Valentin Gleyze, Afuma (Stefan Tcherepnin & Taketo Shimada) by Keith Connolly, Park McArthur by Noah Barker, Ken Okiishi by Felix Bernstein...
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, twice a year, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2018, English / French
Softcover, 220 pages, 240 x 175 mm
Published by
May Revue / Paris
$28.00 $10.00 - In stock -
This issue of May was conceived around a series of texts by three women writers/artists who express, through a bio-fictional-essayist form, their current conditions of living, thinking, and working. We worked on the current issue over a period of six months in New York as the debates emerging from the #MeToo movement and regarding cultural appropriation became more intense in art communities. Instead of addressing directly the moralistic and essentialist dimensions of these binary representations, this issue of May was first imagined as an attempt to initiate a space for writing, to offer some perpectives that could propose another understanding of the new form of “cultural war” we are experiencing now in the Western art world.
Thus, a text by Elise Duryee-Browner directly confronts the paradoxes and perversions of #MeToo and proposes alternate interpretations. The author has already published an essay in a previous issue of May on the effect of the election of Donald Trump on New York liberal society, where she deconstructed the dualist vision of the Left and Right political spheres by comparing this to the lateral activities of the human brain. In this issue, Duryee-Browner reflects upon her own situation as a young woman in an effort to understand women who, in acting like men in order to end male domination, ultimately ignore what they are destroying. Looking at the intense confrontations between men and women, she finds problematic the loss of the capacity to legislate—to make the laws, or in the Jewish religion, to interpret them—and pleads for “a cultural revolution that needs to happen, not simply women/non-Western cultures inhabiting the core of male/Western power” (to borrow her words).
Three short stories by Cecilia Pavón provide lucid insights into her life as a writer in Buenos Aires: the celebratory opening of a very well-known female British artist, Trish; the preparation of her own living room, where she teaches writing workshops; and a dystopic fiction piece featuring an H&M store being suddenly flooded, whereby she considers the relationship between conventions of clothing and gender that are imposed or assumed of women writers. Although the author’s writing style could seem lighthearted or even frivolous (“domestic poetry” as Chris Kraus puts it), she plays with a seemingly minor voice, using her everyday life as a way to circumvent the apparatus of institutionalized provincial literature.
Reflecting upon the replacement of human creativity by artificial intelligence, Georgie Nettell proposes further perspectives to preserve the conditions of creativity in a “hacked” neoliberal society. Within the context of Brexit, recalling that the referendum was manipulated by Cambridge Analytica with weaponized big-data programs, Nettell reflects on the progressive transformation of liberal democracy into a system that can be hacked, as with human creativity, like an electronic device.
CONTENTS:
Preface
— MAY
Trisha Erin
— CECILIA PAVÓN
Freestyle Rap
— CECILIA PAVÓN
A Perfect Day
— CECILIA PAVÓN
Morality Crisis: On the Legitimate Acquisition of Tons of Sex
— ELISE DURYEE-BROWNER
The Onset of Automation
— GEORGIE NETTELL
Out of the Box, on The Square (dir. Ruben Östlund)
— JASON SIMON
On “Seismography of Struggles, Toward a Global History of Critical and Cultural Journals” at INHA, Paris
— MORAD MONTAZAMI
Doors of Deflection, on Sam Pulitzer at Francesca Pia, Zürich
— DANIEL HORN
Paradiso, on Richard Maxwell at Greene Naftali, New York
— NICK IRVIN
Munch’s Flu, on Edvard Munch at MET Breuer, New York
— CLÉMENT RODZIELSKI
Why Do Jaguar, on Georgia Sagri at Kunstverein Braunschweig, Braunschweig
— ANKE DYES
On “Gianni Versace Retrospective” at Kronprinzenpalais, Berlin
— KARL HOLMQVIST
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2017, English / French
Softcover, 220 pages, 240 x 175 mm
Published by
May Revue / Paris
$26.00 $10.00 - In stock -
The Exhibitionary Complex. Exhibition, Apparatus, and Media from Kulturhuset to the Centre Pompidou, 1963–1977
Kim West 1977
Yann Chateigné
London, London London, London Richard Parry
An Image that Can Be Inhabited. On the film Enquête sur le/notre dehors by Alejandra Riera Lotte Arndt
Visual Insert : The Hiking Trail Around the Airport by Peter Fischli
On Thinking of readymades belong to everyone® at Greene Naftali, New York
By Liam Considine
On Show Me Your Archive and I will Tell You Who is in Power at KIOSK, Ghent
By Giovanna Zapperi
On Tobias Kaspar at kim? Contemporary Art Centre, Riga
By Oleg Frolov
On Till Megerle at Christian Andersen, Copenhagen
By Anke Dyes
On Juliana Huxtable at Reena Spaulings, New York
By Christian Haye
On Charges (The Supplicants) by Elfriede Jelinek
By Camilla Wills
Clifton Clifton
By Jeanne Graff
Limited Editions
By Merlin Carpenter
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2017, English / French
Softcover, 220 pages, 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - In stock -
This issue seeks to reflect the post-Trump, post-Brexit and French pre-election climates at a time of reconfiguration of habitual political representations and polarizations. We decided to favour reports, a more reactive writing format on issues of concerns in art schools, universities, institutions: Angela Davis and Gina Dent’s talk in Paris, the exhibition Soulèvements at the Musée du Jeu de Paume, The Color Line at the Musée du Quai Branly on African-American artists and segregation…
American Goodness - Elise Duryee-Browner
If our Lives are Black. On Angela Davis and Gina Dent’s conference at La Maison de l’Amérique Latine, Paris - Claire Fontaine
αντιanti
Interview with Ilaria Bussoni. On the symposium “Sensible Commons” at GNAM, Rome - May
Dynamis, 2016–2017 Athens and Kassel simultaneously and in continuum - Georgia Sagri
On Soulèvements by Georges Didi-Huberman at Jeu de Paume, Paris - Giovanna Zapperi
On the film Two A.M. by Loretta Fahrenholz at Museum Fridericianum, Kassel - Tobias Madison
On Amelie von Wulffen at Barbara Weiss, Berlin - Jay Chung
On Yuki Kimura at CCA Wattis, San Francisco - J. Gordon Faylor
Behind Enemy Lines: Black Power & Taboo. On The Color Line: African-American Artists and Segregation at Musée du Quai Branly, Paris - Kari Rittenbach
On Morag Keil at Eden Eden, Berlin - Nicholas Tammens
On Greg Parma Smith at MAMCO, Geneva - Enzo Shalom
Francis Picabia seen from Switzerland and America. On Francis Picabia’s retrospectives at Kunsthaus Zurich and at MoMA, New York - Carole Boulbès
Villa Noailles - Jeanne Graff
Weather report
Limited Editions by Jean-Luc Moulène and Bernadette Corporation with Benjamin Alexander Huseby
Reprint booklet: LGG$B
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2016, English / French
Softcover, 150 pages, 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - In stock -
May no.16 focuses on recent feminist debates actualizing the history of Italian feminist collectives of the 1970s and 1980s. The issue is a continuation of the issue 4 of May, which reprinted and translated a selection of texts from the time. The issue’s touchstone is the work of writer and co-founder of Rivolta Femminile, Carla Lonzi. Throughout her life, Lonzi refused the power of a masculine creativity that exploits the reproductive, supportive activity of women. The texts assembled in May no.16 bring that refusal to contemporary light.
Weed and the Practice of Liberty
Claire Fontaine
The Paradox of Self-Abolition: a Mapping Exercice
Marina Vishmidt
Presence and Absence
Melissa Gordon
Narrative Without End
Anna De Filippi
An Exercise in the Practice of affidamento
Alex Martinis Roe
On Marinella Pirelli’s Films
Lucia Aspesi
Human Strike Between Foreignness and Responsibility
Claire Fontaine
Introduction to Double Bind
Rhea Anastas
Visual Insert
LGG$B
Citadelle. On Marie Angeletti at Édouard Montassut, Paris
Jacob Stewart-Halevy
On Mathieu K. Abonnenc, Lotte Arndt, Catalina lozano (eds), Colonial Collect and Affect, Crawling Doubles
Emmanuelle Chérel
A World Exactly Like This One. On Credits by Hannah Black
Jack Gross
Get Some Rest Pam, or Jason Bourne comes of age. On Paul Greengrass’ film, Jason Bourne
Maija Timonen
Aggregation or Mere Dislocation. On the 9th Berlin Biennale and “Painting 2.0: Expression in the information Age,” mumok, Vienna
Kari Rittenbach
Short Story
Jeanne Graff
Limited Edition
Hans-Christian Lotz
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2016, English / French
Softcover, 168 pages, 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - Out of stock
MAY #15
"FASHION"
contents include:
Preface — MAY
Crisis Fashion — DANIEL HORN
DIS and That — MIKAEL BRKIC & DIS
Vetements – Fall / Winter 2016. Panel Discussion — LOU STOPPARD & SAHIL BABBAR, AUDE FELLAY, AYA NOEL, PRIYESH PATEL, VILDE SORUM
The Modern Naked King — TAQUE HIRAKAWA
Interview with Women’s History Museum — ADA O’HIGGINS
Maison Artists Space. Interview with Stefan Kalmár — MAY
Roundtable — BLESS & ANJA ARONOWSKY CRONBERG, HEINZ PETER KNES
THE STREET — TOBIAS KASPAR & TOBI MAIER
Jesus as Readymade. Interview with Kaspar Müller — PETER FISCHLI
REVIEWS
La mode retrouvée. On the Wardrobe of the Countess Greffulhe at Palais Galliera, Paris — HANNAH ADKINS
Post-Hummannerism. On “Inhuman” at Fridericianum Museum, Kassel — JAKOB SCHILLINGER
Magma — ERIC BELL
Finely Crafted Stool. On Mathieu Malouf at Jenny’s, Los Angeles — GEORGE EGERTON-WABURTON
Wolfpack. On the film “The Wolfpack” by Crystal Moselle — JULIA MORITZ
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
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
2014, English / French
Softcover, 232 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - In stock -
MAY #13 features:
Preface
καταστροφή: the end and the beginning
Man of the Anthropocene (as portrayed in the movie "Gravity")
What is "political" in the Anthropocene? A conversation between STEPHANIE WAKEFIELD and ANTEK WALCZAK
DIY or DIE: a pastoral Selfie
Two stories
Insert: Dustin
REPORTS
Mirror, mirror on the wall ... STEWART UOO at Buchholz Gallery, Berlin
Garden graft. On the exhibition "Your portrait": a retrospective on TETSUMI KUDO at the National Museum of Modern Art, Tokyo
Kiss me, kiss me, love my body covers
True Romance. Camille Blatrix at Balice Hertling, Paris
The affect impersonal. Anne Imhof at Deborah Schamoni gallery, Munich
Dorothy Iannone This timeless sweetness at the Migros Museum für Gegenwartkunst, Zürich
"Species of notes." On the book Dubuffet typographer Pierre Leguillon
Exposure Charles James: beyond fashion at the MET, New York
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2014, English / French
Softcover, 232 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$25.00 - In stock -
MAY #12 features:
The Spoiled Children of Art
— Georges Rey
Afterword
— Florence Bonnefous
Black Box
— Éric Troncy
“Project Unité” in Firminy.
Interview with Yves Aupetitallot
— May
Editorial (catalog of “L’Hiver de l’amour”)
— Elein Fleiss, Dominique Gonzalez-Foerster, Bernard Joisten, Jean-Luc Vilmouth, Olivier Zahm
Traffic: Space-times of the Exchange
— Nicolas Bourriaud
The Stranger and the Margin. Interview with Roy Genty
— May
Reviews
On Loretta Fahrenholz, “Ditch Plains” at Reena Spaulings Fine Art, New York
— Annie Godfrey Larmon
On “Interwoven Globe: The Worldwide Textile Trade 1500-1800” at Metropolitan Museum of Art, New York, and “Decorum: Carpets and Tapestries by Artists” at Musée d’Art moderne de la Ville de Paris/ARC, Paris
— Nick Mauss
Trois petits chats. On “Pierre Huyghe” at Centre Pompidou, Paris
— Neil Beloufa
Mobile Brand Development. On Carissa Rodriguez, “La Collectionneuse” at Front Desk Apparatus, New York
— Jacob King
To the Planetarium. On “The Whole Earth. California and the Disappearance of the Outside”, at Haus der Kulturen der Welt, Berlin
— Vincent Normand
Painting Inside Yourself. On Antek Walczak, “New Transbohemian States” at Real Fine Arts, New York
— Damon Sfetsios, Elise Duryee-Browner
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2013, English / French
Softcover, 257 pages, 240 x 175 mm
Published by
May Revue / Paris
$27.00 - In stock -
Newest issue of Paris' MAY Revue, and already out of print.
May #11 features:
An Introduction to a Juridical Legal Analysis of Contemporary Art — Judith Ickowicz
The Reappearances of Cady Noland and the Theatre of Law — Judith Ickowicz, Elvan Zabunyan, David Perreau
A Revolution “First-Hand”: Seth Siegelaub’s Journey to Portugal in May 1975 — Sara Martinetti
Zero Dark Thirty: The Aesthetics of Narcissism — Maija Timonen
Friend of the Devil. On Michael Krebber, “The ridiculized snails” at CAPC, Bordeaux — Mark von Schlegell
Reviews
On Martin Kippenberger, “Sehr Gut | Very Good” at Hamburger Bahnhof, Berlin — Jay Chung
Life, like networking, is a group show. On Tanja Widmann, “eine von euch” at Grazer Kunstverein, Graz, Badischer Kunstverein, Karlsruhe, Saprophyt, Vienne, tranzitdisplay, Prague — Tonio Kröner
Another image, a different song. On Mathias Poledna at Secession, Vienna — Benjamin Hirte
Get Rid of Capitalism. On Bernadette Corporation, “2000 Wasted Years” at ICA, London — Josefine Wikström
Participation, Penetration, and Phoniness. On Tobias Kaspar, “Life and Lies” at Galerie Marcelle Alix, Paris — Andrea Legiehn
On “The Issues of Our Time” at Castillo/Corrales, Paris — Seyoung Yoon
“Living in Your Head”. On “When Attitudes Become Form: Bern 1969/Venice 2013” at Prada Foundation, Venice — Elvan Zabunyan
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2013, English / French
Softcover, 200 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$25.00 - In stock -
MAY #10
Features:
How to Do the History of French Theory in the Visual Arts: A New York Story— John Rajchman
From Time to Space: When Critical Theory Turns Global— François Cusset
Meeting Jean-François Chevrier — Paul Sztulman
54, boulevard Raspail — Stefan Germer
Reviews
“Biarritz by Georges Ancely : Photographs 1880–1895” — Nicolas Ceccaldi
“Ecstatic Alphabets/Heaps of Language” — Tom McDonough
“Because Thought is Dark!” — Clara Schulmann
Peripheral Passages. On John Knight’s Curb Appeal — André Rottmann
Matisse Rebooted — Clément Auriel
about MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2012, English/French
Softcover, 186 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$18.00 - In stock -
May issue 9 features: Arab Uprisings and Impersonal Images by Dork Zabunyan; From Montage to Détournement in the Situationist International by Tom McDonough; Shit Happens: The Incredible Chronicle of OWS by Antek Walczak; Alex Bag and Patterson Beckwith by Robert McKenzie; Pacific Standard Time, Art, Art in Los Angeles, 1950-1980 by Karl Holmqvist; Judith Hopf by Melanie Ohnemus; Isa Genzken by Karl Holmqvist; David Douard by Benjamin Thorel; Kenneth Goldsmith by Marwan Makki; This Way To The Cupcake Party by Carloine Busta and Amy Yao; much more...
about MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2012, English/French
Softcover, 184 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$18.00 - In stock -
In this issue:
"The Threat of The Provincial" by Ken Okiishi
"Detroit" by Jay Chung
"Radical Localism: Report from Mexicali" by Chris Kraus
"There is no Provicialism Solution" by Rex Butler and A.D.S. Donaldson
"Questions About 4 Taxis" by Thomas Lawson
"Insert Visuel/Visual Insert" by Henry Vessel
"Neon Venacular. On "Now Dig This! Art and Black Los Angeles 1969-1980"" by Alex Kitnick
"Unearthing the Campesino. On "MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985"" by Kappy Mintie
"Archives With and Without Forms. On "Anarchism Without Adjectives: On the Work of Christopher D’Archangelo (1975-1979)" and "The Experimenal Impulse"" byCatherine Chevalier
"The Land Farms the Farmer and The Mind. On Peter Nadin's "First Mark"" by Mathieu Malouf
plus more... highly recommended!
about MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2011, English/French
Softcover, 174 pages (b&w ill.), 240 x 175 mm
Published by
May Revue / Paris
$18.00 - In stock -
In this issue:
“I think it’s time to break off…’’
Olivier Zahm
Preface (Documents sur l’art, no 2, 1993)
Hervé Legros
Interview between Olivier Zahm (of Purple) and May
Wishing to be in Paris, glad to be in Berlin or different ways to escape the 1990s
Stephan Geene
Investigation of a Party: An Interview with Roberto Ohrt
Catherine Chevalier
Looking the part—The Empty Plan by Anja Kirschner and David Panos
Maija Timonen
Gerard Byrne, “In San Francisco they say, “Flash on it””
Clara Schulmann
Ken Okiishi, (Goodbye to) Manhattan
Karl Holmqvist
Richard Prince, American Prayer
François Aubart
Emily Sundblad, “Que Barbaro”
Rob McKenzie
Henrik Olesen, The Maculate Conception
Elisabeth Lebovici
Rirkrit Tiravanija, Lung Neaws Visits His Neighbours
Karl Holmqvist
Kœnraad Dedobbeleer, The Duplication of Dedobbeleer
Vincent Romagny
Christopher d’Archangelo, Contrary to Intuition, Let’s Begin with an Image
Scott Portnoy
2011, English/French
Edition of 1000
Published by
May Revue / Paris
$18.00 - Out of stock
A terrific new issue from one of our favourite journals on the planet.
“This 6th issue focuses on a selection of writings about the artist Paul Thek (1933–1988), which we are publishing in the wake of his first American restrospective at the Whitney Museum last autumn, following a retrospective organized by the ZKM that circulated between 2007 and 2009 in Europe. (…)” Includes: - Paul Thek, A Fish Out of Water by Paul Sztulman - “I don't want to give myself to trash...” by Marietta Franke - Povera Today by Antek Walczak - You are Invited to be the Last Tiny Creature by Chris Kraus - Jana Euler, “Form Follows Information Exchange” by Nicolas Ceccaldi - New York Report by David Lieske
June 2010, English/French
Softcover, 210 pages,175 x 240 mm
Published by
May Revue / Paris
$18.00 - Out of stock
May Revue is a wonderful quarterly arts journal from Paris, edited by Catherine Chevalier and Eva Svennung.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quarterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
May #4 features "Entrée en matière" - Fulvia Carnevale; Sexual Difference: A Theory of Social Symbolic Practice (Chapter One) - The Milan Women’s Bookstore Collective; Nudity - La Nudité - Antonella Nappi; Autonomy and the Need for Love, Carla Lonzi, Vai Pure; Autonomie et besoin d’ amour : Carla Lonzi, Tu peux y aller, Lea Melandri; "The Ongoing Practice" - La pratique amorcée : le « groupe analyse » et le « groupe de l’inconscient » Lea Melandri; "Let’s Spit on Hegel" (Nous crachons sur Hegel) - Carla Lonzi; Sturtevant, “The Razzle Dazzle of Thinking” - David Lewis; "Why working together with an inner Voice" - Josef Strau; "Improvisation, Power, Cultural History-bending" - Tony Conrad; "In Fashion. On Josephine Pryde" - Alex Kitnick; Conversation avec Mathieu K.Abonnenc - Thomas Boutoux, François Piron et Benjamin Thorel; « Nothing rings a bell? », Brice Dellsperger, Body Double 22 - Clara Schulmann; D5 and the Gesture of Withdrawal - Jay Chung; "the spherical space of James Benning" - Leonor Antunes; and more!
2010, English/French
Softcover, 176 pages, 175 x 240 mm
Published by
May Revue / Paris
$18.00 - In stock -
May Revue is a wonderful arts journal from Paris, edited by Catherine Chevalier and Eva Svennung.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quarterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
May #3 features "Grève humaine (interrompue)" Fulvia Carnevale and John Kelsey in conversation, "Lessons from Éric Rohmer" by Julien Mahon, "La Grande Parade" by Dork Zabunyan, "What Is a Bad Exhibition?" by Paul Sztulman, "The Complete Poem" by Chris Kraus, “Besides, With, Against, and Yet: Abstraction and The Ready-Made Gesture” by Caroline Busta, "CityCat, deflected in response to a system built up from under-examined details. 2 December, 2006 and 9 May, 2009, Brisbane River" by Dave Hullfish Bailey, "Shaping, Structuring, and Editing the Past" Interview with Richard Hertz by Catherine Chevalier and more!!!
2009, English/French
Softcover, 176 pages, 175 x 240 mm
Published by
May Revue / Paris
$18.00 - In stock -
May Revue is a wonderful arts journal from Paris, edited by Catherine Chevalier and Eva Svennung.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
May #2 features texts and contributions by/on artists and critics, including Dahn Vo, Heimo Zobernig, Anthony Elms, Jay Chung, Elvan Zabunyan, Thomas Boutoux, Catherine Chevalier, Benjamin Thorel et Patricia Falguières, Elisabeth Lebovici, Natasa Petresin-Bachelez, Gallien Dejean, Bruno Serralongue, Seth Price, Lili Reynaud Dewar, Karl Holmqvist, Juliane Rebentisch, Hegel, Dork Zabunyan, Chicago, Merlin Carpenter, and more!!!
2009, English/French
Softcover, 176 pages, 175 x 240 mm
Published by
May Revue / Paris
$18.00 - Out of stock
May Revue is a wonderful arts journal from Paris, edited by Catherine Chevalier and Eva Svennung.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.May #1 features texts and contributions by/on artists and critics, including Michael Krebber, Fulvia Carnevale, Catherine Chevalier, Jay Chung, Josef Strau, Grand Openings, Stefan Germer, Karl Holmqvist, Anne Marquez, René Magritte, Jean Pierre Rehm, Clément Rodzielski, Vincent Romagny, Benjamin Thorel, Oscar Tuazon, Antek Walczak, Haacke, Broodthaers, Beuys, and more!!!