High-rise architecture has provided a popular vantage point for urban photographers since the turn of the millennium. Amidst the diffusion of aerial imagery obtained from airborne cameras, the embodied view from above has witnessed a parallel revival. This mode of representation harks back to the early twentieth century when the modern city became a field of exploration for avant-garde photographers in pursuit of a ‘new vision’, as epitomised by Aleksander Rodchenko’s radical high-angle shots which captured Moscow’s spatial patterns from uncustomary perspectives. Eight decades later, the Italian photographer Gabriele Basilico revisited the Russian capital and produced a photobook Vertiginous Moscow (2008), that referenced Rodchenko’s work. Basilico embraced the vue en plongée to depict the city of and from the Seven Sisters, the monumental towers built under Stalin after World War II. Multiple layers that constitute Vertiginous Moscow are unpacked here with a focus on the photographer’s sense of verticality, which he succinctly described as ‘a dynamic attitude of the gaze’. This attitude was not limited to the depiction of urban spaces from high vantage points but engaged a broader set of temporal relations with the city’s past — as well as intimations of possible futures.

中文翻译：

---

“凝视的动态态度”：Gabriele Basilico 的垂直空间感

自千禧年以来，高层建筑为城市摄影师提供了一个受欢迎的有利位置。在从机载相机获得的航拍图像的传播中，从上方看到的具体视图见证了平行的复兴。这种表现方式可以追溯到 20 世纪初期，当时现代城市成为前卫摄影师追求“新视野”的探索领域，亚历山大·罗琴科激进的高角镜头捕捉了莫斯科的空间格局。不习惯的观点。八十年后，意大利摄影师加布里埃莱·巴西利科 (Gabriele Basilico) 重访了俄罗斯首都，并制作了一本摄影集《眩晕莫斯科》(2008)，其中引用了罗琴科的作品。Basilico 用 vue en plongée 来描绘七姐妹的城市和来自七姐妹的城市，二战后斯大林时期建造的巨大的塔楼。构成眩晕莫斯科的多个层次在这里展开，重点是摄影师的垂直感，他简洁地将其描述为“凝视的动态态度”。这种态度不仅限于从高处对城市空间的描绘，还涉及与城市过去的更广泛的时间关系——以及对可能未来的暗示。