Yesterday’s Sandwich is the first comprehensive publication dedicated to the early experimental works of renowned Russian photographer Boris Mikhailov. This photobook compiles a series created between the late 1960s and early 1970s, showcasing a pivotal moment in Mikhailov’s artistic journey—one that not only established his reputation in the international photography scene but also became a significant milestone in the visual culture of the Soviet era.
Born in 1938 in Kharkiv, Boris Mikhailov is considered one of the most influential Russian photographers of our time. His work bridges the realms of art and documentary, consistently engaging with themes such as marginalization, historical memory, and structures of power. Spanning black-and-white photography, hand-colored prints, collage, and installation, Mikhailov’s practice has earned widespread acclaim in both contemporary photography and the broader art world.
The hallmark of Yesterday’s Sandwich lies in its unique creative approach. Mikhailov layered two color slides to produce what he called "sandwiches"—surreal, dreamlike images where nude female figures overlap with desolate cityscapes and chaotic yet oddly familiar scenes from everyday Soviet life. These carefully constructed compositions blur the line between accident and intention, exuding a poetic visual absurdity that subtly critiques the stifling atmosphere of the Soviet regime.
Created during a time of political repression and limited freedom of expression, Mikhailov used the language of visual experimentation—infused with eroticism and irony—to resist the rigidity of reality. His images confront the system while simultaneously reflecting on the complexity of human existence. This body of work stands not only as a cry for individual freedom but also as a powerful assertion of artistic independence.
Now republished in book form, Yesterday’s Sandwich offers more than a retrospective of Mikhailov’s early experimentation. It provides today’s readers with a deeper understanding of the poetic and resistant potential of photography under oppression. This is not just a photobook—it is a document of art history where image-making meets political and cultural commentary.