Gleb Kosorukov’s *Samasthiti* sets two photographic sequences running side by side and lets the friction between them do the work. One was made in eastern Ukraine, in an area of conflict, and records urban destruction after heavy bombardment; the frames appear in the order Kosorukov shot them. The other was made in Paris, as technical imagery for an Ashtanga yoga book by the teachers Gérald Disse and Linda Munro, and is ordered exactly as it stood in that book’s draft layout. Both were photographed across the same two months.

Neither sequence is edited to explain the other. Kosorukov places them together mechanically, so that a collapsed building and a correctly held posture can fall on facing or neighbouring pages without comment. The pairing is deliberate and unsentimental, and it opens the book to more than one reading: the viewer supplies the narrative the layout withholds.

The Sanskrit term *samasthiti* denotes a restored state of equilibrium, and Kosorukov takes it as a metaphor for the condition he believes we are drifting toward. The book’s structure, rather than any individual photograph, carries that argument.

Steidl published the volume in 2019 as a hardcover of 440 pages, in English; the ISBN-13 is 9783958296312. Given that length, the two sequences are allowed to accumulate instead of being sampled, and the book’s meaning depends on that accumulation. For a collector, the interest lies in the method: a photographer treating sequence and adjacency on the printed page as the primary instrument, in a form substantial enough to sustain it.