page break banner by Albina Mokhryakova

Maybe Therapy

Maybe Therapy (part of the project Maybe Therapy, Paris, 2020) The number of young people with mental disorders is growing annually worldwide. Today we see how the desire for a stable emotional state has become an impulse for the development of various types of therapies: from pharmacological and psychotherapeutic to physical and spiritual. Immersing myself in the material, I have noticed the studies in which religious discourse is compared with pharmaceutical and psychotherapeutic discourses. Shifting the focus to adolescents, for whom the issue of mental health and self-help is especially relevant, I explore the possibilities of creating communities that center around the concept of happiness / harmony in the face of today's political, economic and environmental crisis. As part of the project, costumes for the characters were created in collaboration with Russian designers Stas Filkov “Kruzhok” and Chiveskella. Clothing is an additional marker of a community that can exist not only in a fictional application video, but also in real life: objects-crosses, reminiscent of both religious symbols and a medical symbol, as well as in the form of a capsule collection for the audience. KAHEGHA (part of the project Kahega, 2019) “Kahegha” is a mythological space based on personal experience of co-participation in the story of the film heroine. The author creates a timeless polyphony, using eclectic ways of narration: media archeology, computer games aesthetics, elements of re-enactment are combined with a theatrical production of the play, written by the heroine long before the crime. “Albina Mokhryakova attempts to find non-existent justice, twisting the plot and imitating a seemingly confessional film. She seeks to unify the phenomenon that has already opened to a substantive view — internal history and motivation — whether Gaddafi existed, who killed him and what history is. The construction and representation of history is a special way of modelling the conditionality of reality that Mokhryakova works with” (Karina Karaeva, art critic)

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