Lately, I’ve been personally investing a great deal of my energy into co-birthing the following collaborative entity. Legwork, via the means of its own description, is a Berlin- and Hannover-based collaborative concerned with situational articulations and circulations of meaning, ranging from figurative to discursive. Its web presence is at legwork.cc.

The collaboration will materialize through various mediums and will be centrally located (whatever that means anymore) online, through monthly issues. The first bit of writing I’ve done with Legwork is entitled, Cooking Invocation. The following summary of the piece was prepared for Legwork’s newsletter: “That the preparation of a meal should wield such discursive currency in the contemporary art world says something meaty about the status of the medium of the everyday in contemporary artistic practice. Tobey Albright prepares.” You can read the full article here.

Two additional [brilliant!] articles on hybridized choreography, situated between YouTube and Art Fairs, and a collaborative Giorgio Agamben TrendMatrix, are also held within its web pages. And if those claims alone don’t make you want to interface with Legwork, the admission that my two Legworkian collaborators, Egle Obcarskaite and Timothy Murray, have two of the more brilliant minds and engaging practices as anyone I’ve had the pleasure to play with before, will certainly persuade you. Go!

www.Legwork.cc

The following MP3 list is a short overview of some of the music I’ve been listening to lately, while making things.
Ghosts.mp3
01-Door-Opens-Both-Ways.mp3
02 Beach Point Pleasant.mp3
04 Movement II_ Sleeping Invader.mp3
07 Should have taken acid with you.mp3
03 Hearing Damage.mp3
07 Lovers' Carvings.mp3
10 Maria Lionza (Album Version).mp3

 

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Tobey: Can you please tell us what you think of solitude? And not just a general, every-person sort of solitude, but the more slightly romantic solitude, the artist’s solitude.

Tobey: Well, that’s rather simple, really: You’re not alone. You’re not alone, so why pretend like you are? Solitude, seems [to me] to be humanity’s great creative act of the twentieth century. I imagine that it was ‘created’ as a therapuetic device for the overwhelming understanding of bodily depth, that is the shear number of human beings populating this planet at one given point in time. In addition to the overwhelming number of individuals, some times acting as a whole, comes the overwhelming emotional burden of realizing the rate at which they come and leave existence.

Tobey: So, we invented solitude out of a fear of togetherness?

Tobey: Yes, I believe we did. The speed at which we had to make this collective confrontation was too overwhelming. Thus, we had to retard the process until it seemed as though we could get a bearing on it. Until, we realized that the world is actually ending. That the world ends when each of us closes our eyes for the final time and the individualized world we made out of togetherness, disappears.

Tobey: Are we coming close to being able to be together?

Tobey: I believe we are. Although, it simultaneously gets more difficult, more confusing, as we get closer to clarity.

Tobey: Do you have any advice for those who are getting, as you say, ‘simultaneously confused with clarity?’

Tobey: Yes. There is an ancient ritual of repeating multiple breaths, at a very quick rate, while concurrently making vocal noise on each expulsion of breath. These repetitive expressions of breath can make tonal shifts both up or down in scale, or they may even hold the same note for a small period of time. When it comes to confronting emotions that are triggered by ‘external’ stimulus that we could never really control, this ritual is a proven method of calming the nerves.

Tobey: You mean laughing?

Tobey: Yes.

Tobey: Couldn’t you just have said laughing?

Tobey: Yes.

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The First Post. This blog is being devoted to the archiving of  ‘major’ thoughts (& minor applications) within Tobey Albright’s individual art perspective. The posting process works in reverse to common postings on blog sites, in so far as additional posts appear further down on the list (& this original post is first). The ‘style’ of writing contained within these pages is one similar to speaking, where there  isn’t much attention to detail or editing. Thus, the grammatical streams may not be easily followed but are rather compiled moments that are individually capable of being pieced into coherency at later times. Because I realize the relevancy and helpfulness of illustrations within text, I’ll include various images (such as the one below), which at times will appear seemingly unrelated, but will however reveal structures inherent in many of these ‘major’ thoughts.