Photobooks were an integral and generative part of photographer Gabriele Basilico’s practice. Through them he meticulously probed the shifting states of urban environments, like a doctor or scientist detecting the state of health of a patient. In a catalogue accompanying an exhibition held in 2006, he described his photobooks as ‘points of arrival’ — the result of a series of open and wide-reaching explorations of the urban condition. Once readers spend time with his narratives, they begin to think more about the nature of the contemporary urban landscape. Certain questions then arise: What stories do Basilico’s volumes recount about the urban condition? Do Basilico’s urban theses raise questions or chart possibilities? How do his volumes evoke the potential of the city space? In what ways do his photobooks act as archives of disappearing urban environments? Using these guiding questions, this article explores how Basilico’s photographs work in conjunction with the narrative capacity of the book format to advance a position on urban spaces. It looks closely at three volumes: Interrupted City (1999), Cityscapes (2000) and Milano. Ritratti di fabbriche [Milan. Portraits of Factories] (1981; 1983).

中文翻译：

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“我的到达点”：Gabriele Basilico 的写真集

写真集是摄影师 Gabriele Basilico 实践中不可或缺的一部分。通过它们，他细致地探索了城市环境的变化状态，就像医生或科学家检测患者的健康状况一样。在 2006 年举办的展览所附的目录中，他将他的摄影书描述为“到达点”——对城市状况进行一系列开放和广泛探索的结果。一旦读者花时间阅读他的叙述，他们就会开始更多地思考当代城市景观的本质。然后会出现一些问题：Basilico 的作品讲述了哪些关于城市状况的故事？Basilico 的城市论文是否提出了问题或图表可能性？他的作品如何激发城市空间的潜力？他的摄影书以什么方式作为正在消失的城市环境的档案？使用这些指导性问题，本文探讨了 Basilico 的照片如何与书籍格式的叙事能力相结合，以推进在城市空间中的地位。它仔细研究了三卷：Interrupted City (1999)、Cityscapes (2000) 和 Milano。Ritratti di fabbriche [米兰. 工厂肖像]（1981 年；1983 年）。Interrupted City (1999), Cityscapes (2000) 和 Milano。Ritratti di fabbriche [米兰. 工厂肖像]（1981 年；1983 年）。Interrupted City (1999), Cityscapes (2000) 和 Milano。Ritratti di fabbriche [米兰. 工厂肖像]（1981 年；1983 年）。