Mokhryakova Albina

535-2019_Мохрякова Альбина

Born in 1990 in Bratsk.

Graduated from Novosibirsk State University (The Faculty of Humanities, Philology Department) and The Rodchenko Art School (video-art class supervised by Kirill Preobrazhenskiy and Dimitri Venkov (2018). In 2018 represented Russia at The International Encounter of Art Schools Students “Artagon IV” (Paris, France). A participant of the “Bergman. Metamorphosis” exhibition and film festivals “ArtDocFest” and “Spirit of Fire”. A co-author of The ICE collective video installation at the Robert Wilson Residence (Watermill Center, New York).
Lives and works in Moscow.


In 2013, Russian citizen Ekaterina Ustyuzhaninova killed a Libyan Army officer avenging the execution of Gaddafi. This event provoked an armed attack on the Russian embassy in Libya, which was then evacuated urgently. In the subject of the news reports I recognized a girl who used to be my dormitory roommate. A few years later I found her blocked diary in Web Archive, she wrote under the pseudonym “Kahegha” (a concept from the fictional worlds of Lovecraft), and that finding triggered me for creating this work.
The video “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. From here emerges the possibility of the objective world’s de-rationalization, since Mokhryakova tries to talk about the equivalence
of the narrations, unconditionally imagined and as-if-real, psychologically real, creating a system of formal and projecting schemes, which are not optical, but narrative ones”, – Karina Karaeva.


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