World Food Books is a book shop in Melbourne, Australia.
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
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.
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Wurtz appears courtesy of Metro Pictures, New York.
December 15 - January 20, 2014
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
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
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
During shop open hours videos played every hour, on the hour.
$22.00 - In stock -
Edited by Fabian Schöneich
Texts by Sunghoon Han, Minouk Lim, Fabian Schöneich, Hyunsuk Seo
What role does historiography play in the formation of the present? How does contemporary experience inform the commemoration of historical events or lack thereof? Minouk Lim explores history in the present tense—its media representation, collective memory, ritual, and trauma—through her exhibition, publication, and broadcasting station United Paradox. The South Korea in Lim’s project is a nation with a hole in its chest: a nation of families divided by territorial disputes and traumatized by civilian massacres, victims of an authoritarian power in service of ideological control and economic growth. While reflecting on the representation and reappropriation of historical events in South Korea, Lim and the contributors to this publication explore ways of working through the past in a present that prefers to forget.
Copublished with Portikus
Design by Ronnie Fueglister
$18.00 - In stock -
Edited by Fabian Schöneich
Contributions by Lawrence Abu Hamdan, Emily Apter, Giovanni Carmine, Omar Kholeif, Fabian Schöneich
A “politics of listening” is an intervention into and a reorganization of forms that listening takes rather than a call for free speech or for a platform for voices to be heard. Listening is a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement.
In his art and research, Beirut-based artist Lawrence Abu Hamdan explores the perception of language, sound, and listening. National identity, human rights, and the administration of justice are recurrent themes in his work. The techniques used in his audio-aesthetic practice have been used to conduct forensic audio analysis for several legal investigations. This monograph includes a series of transcripts of live speech from sermons, monologues, testimonies, and interviews made over the course of the last five years.
Copublished with Kunsthalle St. Gallen and Portikus, Frankfurt am Main
Design by David Bennewith, Colophon
$37.00 - In stock -
Edited by Fabian Schöneich
Texts by Helke Bayrle, Kirsty Bell, Daniel Birnbaum, Sunah Choi, Nikola Dietrich, Nikolaus Hirsch, Brigitte Kölle, Kasper König, Angelika Nollert, Melanie Ohnemus, Sophie von Olfers, Philippe Pirotte, Fabian Schöneich, Jochen Volz
In 1992, Helke Bayrle began videotaping the installation of each exhibition at the Portikus exhibition space. These videos form a remarkable and intimate archive of the storied Frankfurt contemporary art institution and the exceptional artists and personnel that have worked within it. Coinciding with the launch of a website containing all of Bayrle’s Portikus videos, this publication pays tribute to the artist’s extraordinary work, through a comprehensive timeline, video stills, and statements by past and current directors and curators. Art critic and historian Kirsty Bell writes about the history of Portikus and the meaning of Bayrle’s work. Also included in the book is a conversation with the artist and Sunah Choi, who, since 2001, has edited the videos that comprise Bayrle’s truly unique undertaking.
Copublished with Portikus, Frankfurt am Main
Design by Ronnie Fueglister
$75.00 - In stock -
The artist and professor Michael Krebber recently invited his colleagues Gareth James, John Kelsey and Josef Strau to participate in an exhibition with the title "Ical Krbbr Prdly Prsnts Gart Jas, Jon Klsy, Josf Stra." Minus a few of the necessary letters, the artists' names became a wall painting transformed into concrete poetry. As the exhibition freed itself from the curator's reins, the resulting exhibition catalogue also goes against conventional form and order. For example, a foreword by the editor turns out to be an artist's improvised speech on the topic of "Puberty in Painting" "Now I have written: I can't decide any longer for one of these points of views or non-points of views." Artworks are not presented in groups by artist, but rather by associative links of picture strips, found-object texts, prose, drawings and collages.
This title is now out of print.
$27.00 - In stock -
What exactly do people look at summer resorts, where their savings plan is for annual leave? What they do there? It could be about pleasant emotions, extraordinary sensations and functional free action, the exemption of duty and subordination, the experience of freedom, or what is being spent. It is possible to acquire a crazy hat. Successfully acquired a crazy hat is in Blackpool, England, an eccentricity, with which it stands not alone. It is the most extraordinary hat, one that no one would have previously can imagine, and yet carry it in the moment when someone declares it to be particularly crazy hat, all already. No one can name the exact date on which any of the crazy hat has become the fashion, who as what it all now. That would be a case for Mass Observation. Last year was the mad hat a man-sized crab plush that you strapped on your back, more precisely, which is strapped on Saturday evening all on their backs. This year there is an orange cone made of fabric with white horizontal stripes, like those plastic hats, which they labeled accidents. So hat and information signs at the same time. Look here: a hat!
Excerpt from Katha Schultes: "These stood to delight and stare" - Mass-Observation in Blackpool, Lancashire
The essay is part of this publication.
This catalogue is published on occasion of the exhibition Nina Könnemann, Free Mumia, Portikus, Frankfurt am Main (March 28 – May 17, 2009).
HIT Berlin/London und Nina Könnemann
$35.00 - Out of stock
Edited by Nikolaus Hirsch, Sophie von Olfers
Contributions by Thomas Bayrle, Christian Egger, Nikolaus Hirsch, Sophie von Olfers
Will Benedict, Michael Beutler, Karla Black, Henning Bohl, Jana Euler, Ellen Gronemeyer, Claire Hooper, Tom Humphreys, Paul Lee, Laure Prouvost, Nora Schultz, Lucie Stahl, Sue Tompkins, Alexander Wolff, Sergej Jensen...
Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007. Humphreys developed an exhibition that made no pretense to offer an illustrative or historically accurate representation of his activities at the time, instead turning the space into a distorted double set in the present. Humphreys is interested in questioning the activities of that time; some of the artists he invited for this exhibition, for instance, never showed at Flaca. As Christian Egger writes in the catalogue: “Exhibiting there often meant that you could look with a fresh eye at the first solo shows in London of artists you’d only just seen at Flaca, and that was all really quite exciting, as though you were experiencing a little bit of what the mobile phone you’d brought along had gone through when you first scared it by charging it with island juice, there was somehow a different energy—a flirtation with malfunction.” The catalogue compliments the energetic, engaged style embodied by both Flaca and the reflective exhibition.
Co-published with Portikus
Design by Manuel Raeder
$65.00 - Out of stock
dOCUMENTA (13)’s first artist book records the first stage of a project by Guillermo Faivovich (1977 in Buenos Aires) and Nicolás Goldberg (1978 in Paris). Since 2006, the artists have been researching Campo del Cielo, field of impact of a meteorite shower that occurred in northern Argentina four thousand years ago. El Taco, one of those meteorites, was divided in half in an intricate procedure at the Max Planck Institute in Mainz, Germany—halves which have since been located in Washington D.C.’s Smithsonian Institution and Buenos Aires’s planetarium.
The two parts of El Taco will be reunited for the first time at an exhibition at Portikus, a step in their journey toward dOCUMENTA (13), where a future stage of the project A Guide to Campo del Cielo will take place in 2012. This publication documents the meteorite’s long story, which involves the artists approach to bibliographical inquiry, archival research, and oral history through interacting with people who have been engaged in the region’s history and worldwide fieldwork.
Edited by dOCUMENTA (13), foreword by Daniel Birnbaum, Carolyn Christov-Bakargiev, texts by Tim McCoy, Hernán Pruden, Jutta Zipfel, conversation between Simon Starling and the artists.