Ophelia and other suggestions

What we love the most about a certain Soviet photography is the innocence of which it tells, its enchanted look on things — objects, bodies or architecture —, its attraction to artworks and Paris. A sort of mischievous candor that drives our perception to make an indispensable step back from everything we always know, or think we know.

This is what we somehow had already been able to appreciate in the shots of David Dubnitskiy and that we can find again in Nikolai Endegor’s suggestions.

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