You would expect photographs about corruption to involve the mafia, power games, violence and opulence. But Misha Friedman’s photographs are calm, quiet: landscapes at night, street scenes, empty rooms, bare walls, abandoned lots. We see sailors, lovers, politicians, policeman, workers, soldiers, nurses, veterans—the whole spectrum of society. They are relatively trivial scenes from urban and rural life, with the occasional touch of humor, shot in timeless black and white, except for a single, nearly monochromatic red image.
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