World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
Softcover, 32 pages, 19.5 x 25.5 cm
Published by Nieves / Zurich
$30.00 - In stock -
For the past twenty years, Susan Cianciolo (New York, USA) has moved between fields and formats – from fashion to craft, from performance to filmmaking – and the works presented in The Great Tetrahedral Kite speak to this restlessness. Cianciolo has produced a body of work that wilfully evades categorisation, exploiting the false dichotomies of construction and deconstruction, art and design, event and document.
Susan Cianciolo studied Fashion Design at Parsons The New School for Design and painting at Winchester School of Art. Cianciolo began her career as production manager for Kim Gordon's X-girl line and went on to be assistant collection designer at Badgley Mischka. From 1995–2001 she produced her critically-acclaimed collection RUN, revived in recent years in various forms. Cianciolo has presented her work at in New York at Alleged Gallery, P.S.1 Museum, Andrea Rosen, Sears-Peyton, Maryam Nassir Zadeh, and Ralph Pucci Gallery among others; Internationally at Pitti Immagine Discovery and Kaufmann Repetto, Italy; Purple Institute and Deep Gallery, France; Gallery 360, Presspop, Marugame Genichiro-Inokuma Museum of Contemporary Art, Japan; MMK Museum fur Modern Kunst and Portikus, Frankfurt, Germany. Her work has been featured in publications such as: The New York Times, T Magazine, Vogue, Visionaire, Interview, i-D magazine, Self-Service, Index, Artforum, Hanatsubaki, Vice, Vestoj and Purple amongst others.
2016, German (originally 1981)
Softcover (staple-bound), 48 Pages, 10.3 x 14.6 cm
Published by Nieves / Zurich
$15.00 - In stock -
Peter Fischli (1952) and David Weiss (1946–2012) began their 33-year collaboration in 1979. Resisting any specific style, medium, or material, their work explores the poetics of banality – the sublimity of the objects and events constituting everyday life. Indebted to Dada, Surrealism, Pop Art, and Conceptual Art, their photographs, videos, slide projections, films, books, sculptures, and multimedia installations rely on keen observation and uncanny wit.
Throughout the course of their partnership, Fischli and Weiss probed the idea of dualistic thinking. Perhaps because they were a team of two involved in constant dialogue and debate, they consistently interrogated Western culture’s reliance on contraries. In one way or another, everything they produced together playfully unravels what the artists understood to be “popular opposites” – labor versus leisure, fiction versus reality, kitsch versus beauty, and the banal versus the sublime. The artists embodied this approach in their alter egos, Rat and Bear, who, for all their differences (rats being ugly and ubiquitous while pandas are lovable and endangered), appear as equal partners in their various misadventures. Rat and Bear surface throughout Fischli and Weiss’s work in a range of forms, including appearances in the early films The Least Resistance (1980–81) and The Right Way (1983); as “authors” of the artists’ book Order and Cleanliness (1981); and as a sculpture, Rat and Bear (Sleeping) (2008).
The booklet Ordnung und Reinlichkeit (Order and Cleanliness, 1981) accompanied the Rat and Bear films and is crammed with charts and diagrams, each attempting to impose a crazed order on the world. The original booklet was a self produced booklet, comprising a set of 15 photocopies on sale following the first showing of The Least Resistance at a late-night screening in Zurich.
Softcover, 48 Pages b/w, gold & silver ill.), 19.5 x 25.5 cm,
1st edition, Out of print title / As new,
Published by Nieves / Zurich
$60.00 - Out of stock
With aim to further reflect and pursue the expanding expression onto each particular direction, in 2007, Cosmic Wonder is anouncing three projects with distinct processes: Cosmic Wonder, Cosmic Wonder Light Source and Yukinori Maeda.The new unconventional periodical publication Cosmic Wonder Free Press was produced to lay out the three projects with visuals. It is the first in a series of special collaborations between Cosmic Wonder and Nieves. Cosmic Wonder Free Press will be published with free pace and free format as its title suggests.COSMIC WONDER Since its debut Paris collection in 2000 at the Centre Pompidou, Paris Fashion Week has been the principal forum for presenting the works of COSMIC WONDER. From now on, however, COSMIC WONDER is ever widening its focus to further its exploration of installation and performance in venues around the world. Their projects later this year include an art book, ''Hidden Path of Light COSMIC WONDER," published by Nieves, and in October, a new installation and performance to be exhibited at the Museum of Contemporary Art,Tokyo.
COSMIC WONDER Light Source Starting this year, COSMIC WONDER Light Source is on exhibit for Paris Fashion Week and at the same time it has become the sole fashion project of COSMIC WONDER. The collection is introduced to encourage people to wear these clothes in their daily life, so that they may delight in discovering anew the spirit within them.Yukinori Maeda After studying architecture, Maeda started his creative activities as COSMIC WONDER. In recent years, he has been actively creating and exhibiting his personal artistic works in parallel with his achievements as COSMIC WONDER. For 2007, Maeda has confirmed his participation in the coming traveling exhibition starting in Poland. Also confirmed is an exhibition at Museum of Contemporary Art Tokyo, and here he will attempt to president two separate creative endeavors as COSMIC WONDER and artist Yukinori Maeda, in one exhibition.