1
Istanbul, Türkiye
(1) Please introduce yourself: What is your name, where are you from, what do you do?
I'm Ci Demi from İstanbul, I was born in 1986. I'm a photographer. I mainly make social documentary and personal stories about İstanbul, my photographic work is completely focused on the city and myself. In my previous life, I studied electronics and Italian Literature in university. Later, I moved onto work as a copywriter, then creative director at various advertising agencies for nine years. I discovered photography in 2015. I photographed house concerts of İstanbul for three years and worked as a photo/videojournalist for two years. Finally, I decided to completely focus on my own stories and I've been doing so ever since.
(2) What is your relationship with photography and how did you get into it?
My relationship with photography started later in life, when I was 28 years old. After poaching a massive client at my former advertising agency, I was given a bonus. Using that money, I acquired a brand-new camera (Fujifilm X-E2, if you're curious). To this day, I still don't know why I did that. I had never been particularly interested in photography. I'm a very mission-driven person, I like doing things for a certain purpose; so, I started teaching photography to myself. After figuring out technical bits to a degree, I dove into the history of it all, started looking at a lot of photographs and paintings. Then, I decided to become a war photographer, because all the greats were doing it. An interesting motivation, I know. Having been to war (2015, the Southeastern Turkey), my focus on why I wanted to do photography completely shifted: I wanted to discover my identity and my city using photography. I had already been doing that by writing all my life, I just changed my medium. Photography became my best friend, my therapy, and my way of navigating life.
(3) What do you think triggers you to photograph in a certain moment? Is it planned or solely driven by intuition?
I would say both. None of my pictures are staged (aside from portraits), every single one of them is something I've come across. But also, I work like I'm writing a fictional novel, I go out to collect certain moments to complete the story I've got in mind. I look for the nostalgic, romantic, eerie, and absurd. When I see it, I know that that particular moment belongs in my story; so, I go grab it no matter what. It doesn't matter if I get yelled at, I have to make that picture. I always plan where in the city I will visit next, what kind of pictures I'm hoping to collect, then I go do it.
(4) What is the story you want your pictures to tell?
Primarily, I very much want them to convey the way interact with İstanbul, the way I explore life. I don't particularly photograph to document (but I inevitably do it by capturing a moment in time) but when I do, I want it to become a part of the story I'm shooting; become the next paragraph of the imaginary novel that I'm writing visually. My pictures should carry clues about my childhood, show my endless affection for this chaotic city, make you shudder, and force you to ask what it is that you are seeing. If a picture manages to do at least one of them, I consider that I've completed that paragraph.
(5) Which city would you like to visit the most, and why?
I have no burning desire to visit another city, I've found my true calling: it's İstanbul. But if I have to choose, I actually would like to become a tourist without a camera in New York City. Mainly because it's similar to İstanbul in many ways, I would love to get lost and get into trouble in it.
(6) What is your personal relationship to cities and how do you perceive them as places in general?
My work is a response to this very question, I think. The city is both the background and a character of my stories. It's this endless space in which I'm very much addicted to getting lost. I see every single building as these boxes of stories; be it about their inhabitants or the architecture of it. The streets are my rivers, the topography is the sea I inevitably find myself in. I belong to İstanbul, İstanbul is mine. That's how I see my city.
(7) Regarding your project Unutursan Darılmam: What was your intention, and how did you come up with the idea?
Unutursan Darılmam (I Won't Be Sad If You Forget Me) is a very personal story about both İstanbul and myself. You see, in 2019, I considered leaving the city for good, going somewhere else and quit photography. It was a turbulent time in my life. Whilst I was walking in the streets, all of a sudden, the name of the story just came to my mind: it was something İstanbul was telling me—«If you must go, just go; promise, I won't be sad if you forget me.» Right then and there, I started working on it (I always have my camera with me, as an advantage of exclusively using a point-and-shoot camera) and decided not to leave after all. It's a story about «İstanbul, the signs of being left behind, and dealing with loneliness» as I once wrote whilst describing it. I left the house only around ten times during the year that I started this project (I have bipolar disorder; I was in a huge, crippling depressive episode—I'm fine now). A huge part of the pictures of this story was made on the rare occasion I left the house. And those photographs... they are heavy, the viewer can sense that. A longing and a lust for life is attached to them.
(8) Which project did you never finish?
In my photojournalism days, I teamed up with a writer and set out to make a story about former soldiers who had been wounded during anti-terrorist operations but weren't officially recognised as war veterans by the state. I was going to call it Hurt Division. Sadly, in December 2017, my harddisk got stolen along with my camera and computer. I could never finish it. I've got only one picture from that project.
(9) What is that «one thing» you have never managed to photograph and is now gone for good?
I wanted to make a proper portrait of my grandma but I kept putting it off because we lived together, «I can take the picture any time» I thought. Her passing was sudden. Now, I am left with only a picture of her deathbed and some pictures from her funeral.
(10) If you could travel back / forth in time, what advice would you give your younger / older self?
I would definitely travel back in time and make my younger self listen to These Things Take Time by The Smiths, and tell him to pay attention to the lyrics. Once the song is over, I would say: «Be patient, everything you've been dreaming of will become a reality in ways that you never expect.»
(11) What do you prefer saying: To «take a photograph» or to «make a photograph», and why?
I use both, but they don't mean the same thing to me. Taking a photograph is an artisan act, more technical. Meanwhile, making one is more artistic—you take it, process it, sequence it, see how it interacts with the rest of the story, et cetera.
(12) What is the most interesting experience you have had while photographing?
I could write for days and I wouldn't be able to come close to describe all of the interesting experiences I've had thanks to photography. Photography turned me into an interesting person, too, when you think about it. But no, I'm going to mention something I don't often have a chance to tell—it was a commercial job: I photographed the entirety of Sónar Festival İstanbul on my own in 2018, using only a compact camera (Fujifilm X100F, it has a fixed 35mm lens, that's it). So, having only one camera with no zoom capabilities, I had to get on the stage to get portraits. I had an unbelievable access to everywhere, and I got to experience music in a way no one could. I mean, I got to photograph Fatboy Slim. We were both on the same stage. It was out of this world.
(13) If it wasn’t for photography, what would you be interested in doing instead?
I would either stay as a writer, or if I felt more adventurous, I would possibly try to learn graphic design. If it weren't for photography though, I don't think I would get into visual arts to this degree.
(14) How would you describe one of your pictures to a visually impaired person?
We are in a field. We can hear the faint rustling of the leaves. You feel sad, but at the same time, you feel the morning sun on your eyelids. This is what I would call red. The tree—it's completely red.
(15) What are you currently working on, and—if there is—what is your next project or journey?
I'm currently working on Unutursan Darılmam, mainly to turn it into a book. I've got around 200 selected photographs for it, I'm constantly editing them, discarding some of them, and so on. It's a very engaging process. I'm hoping to finish the book some time this year. I also recently started shooting a new project titled ↘︎ Never Say I Didn't Love You. In this project, I attempt to explore that feeling followed by a sad break-up, using visuals from the city. It's in its infancy for the time being but my plan is to turn the series into an exhibition some time in the future.
Thank you, Ci.
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Images
1–14 Ci Demi, Unutursan Darılmam, Istanbul, Türkiye 2016–2021.
1
Istanbul, Türkiye
(1) Please introduce yourself: What is your name, where are you from, what do you do?
I'm Ci Demi from İstanbul, I was born in 1986. I'm a photographer. I mainly make social documentary and personal stories about İstanbul, my photographic work is completely focused on the city and myself. In my previous life, I studied electronics and Italian Literature in university. Later, I moved onto work as a copywriter, then creative director at various advertising agencies for nine years. I discovered photography in 2015. I photographed house concerts of İstanbul for three years and worked as a photo/videojournalist for two years. Finally, I decided to completely focus on my own stories and I've been doing so ever since.
(2) What is your relationship with photography and how did you get into it?
My relationship with photography started later in life, when I was 28 years old. After poaching a massive client at my former advertising agency, I was given a bonus. Using that money, I acquired a brand-new camera (Fujifilm X-E2, if you're curious). To this day, I still don't know why I did that. I had never been particularly interested in photography. I'm a very mission-driven person, I like doing things for a certain purpose; so, I started teaching photography to myself. After figuring out technical bits to a degree, I dove into the history of it all, started looking at a lot of photographs and paintings. Then, I decided to become a war photographer, because all the greats were doing it. An interesting motivation, I know. Having been to war (2015, the Southeastern Turkey), my focus on why I wanted to do photography completely shifted: I wanted to discover my identity and my city using photography. I had already been doing that by writing all my life, I just changed my medium. Photography became my best friend, my therapy, and my way of navigating life.
(3) What do you think triggers you to photograph in a certain moment? Is it planned or solely driven by intuition?
I would say both. None of my pictures are staged (aside from portraits), every single one of them is something I've come across. But also, I work like I'm writing a fictional novel, I go out to collect certain moments to complete the story I've got in mind. I look for the nostalgic, romantic, eerie, and absurd. When I see it, I know that that particular moment belongs in my story; so, I go grab it no matter what. It doesn't matter if I get yelled at, I have to make that picture. I always plan where in the city I will visit next, what kind of pictures I'm hoping to collect, then I go do it.
(4) What is the story you want your pictures to tell?
Primarily, I very much want them to convey the way interact with İstanbul, the way I explore life. I don't particularly photograph to document (but I inevitably do it by capturing a moment in time) but when I do, I want it to become a part of the story I'm shooting; become the next paragraph of the imaginary novel that I'm writing visually. My pictures should carry clues about my childhood, show my endless affection for this chaotic city, make you shudder, and force you to ask what it is that you are seeing. If a picture manages to do at least one of them, I consider that I've completed that paragraph.
(5) Which city would you like to visit the most, and why?
I have no burning desire to visit another city, I've found my true calling: it's İstanbul. But if I have to choose, I actually would like to become a tourist without a camera in New York City. Mainly because it's similar to İstanbul in many ways, I would love to get lost and get into trouble in it.
(6) What is your personal relationship to cities and how do you perceive them as places in general?
My work is a response to this very question, I think. The city is both the background and a character of my stories. It's this endless space in which I'm very much addicted to getting lost. I see every single building as these boxes of stories; be it about their inhabitants or the architecture of it. The streets are my rivers, the topography is the sea I inevitably find myself in. I belong to İstanbul, İstanbul is mine. That's how I see my city.
(7) Regarding your project Unutursan Darılmam: What was your intention, and how did you come up with the idea?
Unutursan Darılmam (I Won't Be Sad If You Forget Me) is a very personal story about both İstanbul and myself. You see, in 2019, I considered leaving the city for good, going somewhere else and quit photography. It was a turbulent time in my life. Whilst I was walking in the streets, all of a sudden, the name of the story just came to my mind: it was something İstanbul was telling me—«If you must go, just go; promise, I won't be sad if you forget me.» Right then and there, I started working on it (I always have my camera with me, as an advantage of exclusively using a point-and-shoot camera) and decided not to leave after all. It's a story about «İstanbul, the signs of being left behind, and dealing with loneliness» as I once wrote whilst describing it. I left the house only around ten times during the year that I started this project (I have bipolar disorder; I was in a huge, crippling depressive episode—I'm fine now). A huge part of the pictures of this story was made on the rare occasion I left the house. And those photographs... they are heavy, the viewer can sense that. A longing and a lust for life is attached to them.
(8) Which project did you never finish?
In my photojournalism days, I teamed up with a writer and set out to make a story about former soldiers who had been wounded during anti-terrorist operations but weren't officially recognised as war veterans by the state. I was going to call it Hurt Division. Sadly, in December 2017, my harddisk got stolen along with my camera and computer. I could never finish it. I've got only one picture from that project.
(9) What is that «one thing» you have never managed to photograph and is now gone for good?
I wanted to make a proper portrait of my grandma but I kept putting it off because we lived together, «I can take the picture any time» I thought. Her passing was sudden. Now, I am left with only a picture of her deathbed and some pictures from her funeral.
(10) If you could travel back / forth in time, what advice would you give your younger / older self?
I would definitely travel back in time and make my younger self listen to These Things Take Time by The Smiths, and tell him to pay attention to the lyrics. Once the song is over, I would say: «Be patient, everything you've been dreaming of will become a reality in ways that you never expect.»
(11) What do you prefer saying: To «take a photograph» or to «make a photograph», and why?
I use both, but they don't mean the same thing to me. Taking a photograph is an artisan act, more technical. Meanwhile, making one is more artistic—you take it, process it, sequence it, see how it interacts with the rest of the story, et cetera.
(12) What is the most interesting experience you have had while photographing?
I could write for days and I wouldn't be able to come close to describe all of the interesting experiences I've had thanks to photography. Photography turned me into an interesting person, too, when you think about it. But no, I'm going to mention something I don't often have a chance to tell—it was a commercial job: I photographed the entirety of Sónar Festival İstanbul on my own in 2018, using only a compact camera (Fujifilm X100F, it has a fixed 35mm lens, that's it). So, having only one camera with no zoom capabilities, I had to get on the stage to get portraits. I had an unbelievable access to everywhere, and I got to experience music in a way no one could. I mean, I got to photograph Fatboy Slim. We were both on the same stage. It was out of this world.
(13) If it wasn’t for photography, what would you be interested in doing instead?
I would either stay as a writer, or if I felt more adventurous, I would possibly try to learn graphic design. If it weren't for photography though, I don't think I would get into visual arts to this degree.
(14) How would you describe one of your pictures to a visually impaired person?
We are in a field. We can hear the faint rustling of the leaves. You feel sad, but at the same time, you feel the morning sun on your eyelids. This is what I would call red. The tree—it's completely red.
(15) What are you currently working on, and—if there is—what is your next project or journey?
I'm currently working on Unutursan Darılmam, mainly to turn it into a book. I've got around 200 selected photographs for it, I'm constantly editing them, discarding some of them, and so on. It's a very engaging process. I'm hoping to finish the book some time this year. I also recently started shooting a new project titled ↘︎ Never Say I Didn't Love You. In this project, I attempt to explore that feeling followed by a sad break-up, using visuals from the city. It's in its infancy for the time being but my plan is to turn the series into an exhibition some time in the future.
Thank you, Ci.
2
3
4
5
6
7
8
9
10
11
12
13
14
Images
1–14 Ci Demi, Unutursan Darılmam, Istanbul, Türkiye 2016–2021.
ISO 3166-1 alpha-2
The two digit ISO country codes serve as a standardized reference to the geographical contexts of the projects and works presented on the platform. Their use allows locations to be identified clearly and unambiguously, independent of linguistic or regional variations, while simultaneously revealing which places are represented within the archive (and how often) and which remain absent (for now).
AD Andorra
AE United Arab Emirates (1)
AF Afghanistan
AG Antigua and Barbuda
AI Anguilla
AL Albania
AM Armenia
AO Angola
AQ Antarctica
AR Argentina
AS American Samoa
ATAustria
AU Australia (1)
AW Aruba
AX Åland Islands
AZ Azerbaijan
BA Bosnia and Herzegovina
BB Barbados
BD Bangladesh
BE Belgium (2)
BF Burkina Faso
BG Bulgaria
BH Bahrain
BI Burundi
BJ Benin
BL Saint Barthélemy
BM Bermuda
BN Brunei
BO Bolivia
BQ Bonaire Sint Eustatius and Saba
BR Brazil (1)
BS Bahamas
BT Bhutan
BV Bouvet Island
BW Botswana
BY Belarus
BZ Belize
CA Canada (2)
CC Cocos Islands
CD Democratic Republic of the Congo
CF Central African Republic
CG Republic of the Congo
CHSwitzerland
CI Côte d’Ivoire
CK Cook Islands
CL Chile (2)
CM Cameroon
CN China (6)
CO Colombia
CR Costa Rica
CU Cuba
CV Cabo Verde
CW Curaçao
CX Christmas Island
CY Cyprus
CZ Czechia
DE Germany (10)
DJ Djibouti
DKDenmark
DM Dominica
DO Dominican Republic
DZ Algeria
EC Ecuador
EE Estonia
EG Egypt
EH Western Sahara
ER Eritrea
ES Spain (5)
ET Ethiopia
FI Finland
FJ Fiji
FK Falkland Islands
FM Micronesia
FO Faroe Islands
FR France (4)
GA Gabon
GB United Kingdom (14)
GD Grenada
GE Georgia (2)
GF French Guiana
GG Guernsey
GH Ghana (2)
GI Gibraltar
GL Greenland
GM Gambia
GN Guinea
GP Guadeloupe
GQ Equatorial Guinea
GR Greece
GS South Georgia and South Sandwich Islands
GT Guatemala (1)
GU Guam
GW Guinea Bissau
GY Guyana
HK Hong Kong (3)
HM Heard Island and McDonald Islands
HN Honduras
HR Croatia
HT Haiti
HU Hungary
ID Indonesia
IE Ireland
ILIsrael
IM Isle of Man
IN India (1)
IO British Indian Ocean Territory
IQ Iraq
IR Iran (2)
IS Iceland
IT Italy (8)
JE Jersey
JM Jamaica
JO Jordan
JP Japan (9)
KE Kenya
KG Kyrgyzstan
KH Cambodia
KI Kiribati
KM Comoros
KN Saint Kitts and Nevis
KP North Korea
KR South Korea (2)
KW Kuwait
KY Cayman Islands
KZ Kazakhstan
LA Laos
LB Lebanon
LC Saint Lucia
LI Liechtenstein
LK Sri Lanka
LR Liberia
LS Lesotho
LT Lithuania (1)
LU Luxembourg
LV Latvia
LY Libya
MA Morocco (3)
MC Monaco
MD Moldova
ME Montenegro
MF Saint Martin
MG Madagascar
MH Marshall Islands
MK North Macedonia (1)
ML Mali
MM Myanmar
MN Mongolia
MO Macao
MP Northern Mariana Islands
MQ Martinique
MR Mauritania
MS Montserrat
MT Malta
MU Mauritius
MV Maldives
MW Malawi
MX Mexico (3)
MY Malaysia (1)
MZ Mozambique
NA Namibia
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OM Oman
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PH Philippines (1)
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PM Saint Pierre and Miquelon
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QA Qatar
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SC Seychelles
SD Sudan
SE Sweden (1)
SG Singapore (3)
SH Saint Helena
SI Slovenia
SJ Svalbard and Jan Mayen
SK Slovakia
SL Sierra Leone
SM San Marino
SN Senegal (1)
SO Somalia
SR Suriname
SS South Sudan
ST Sao Tome and Principe
SV El Salvador
SX Sint Maarten
SY Syria
SZ Eswatini
TC Turks and Caicos Islands
TD Chad
TF French Southern Territories
TG Togo
TH Thailand (2)
TJ Tajikistan
TK Tokelau
TL Timor Leste
TM Turkmenistan (1)
TN Tunisia
TO Tonga
TR Türkiye (3)
TT Trinidad and Tobago
TV Tuvalu
TW Taiwan
TZ Tanzania
UA Ukraine
UG Uganda (1)
UM United States Minor Outlying Islands
US United States (48)
UY Uruguay (1)
UZ Uzbekistan
VA Vatican City
VC Saint Vincent and the Grenadines
VE Venezuela
VG British Virgin Islands
VI United States Virgin Islands
VN Vietnam (1)
VU Vanuatu
WF Wallis and Futuna
WS Samoa
YE Yemen
YT Mayotte
ZA South Africa
ZM Zambia
ZW Zimbabwe
ISO 3166-1 alpha-2
The two digit ISO country codes serve as a standardized reference to the geographical contexts of the projects and works presented on the platform. Their use allows locations to be identified clearly and unambiguously, independent of linguistic or regional variations, while simultaneously revealing which places are represented within the archive (and how often) and which remain absent (for now).
AD Andorra
AE United Arab Emirates (1)
AF Afghanistan
AG Antigua and Barbuda
AI Anguilla
AL Albania
AM Armenia
AO Angola
AQ Antarctica
AR Argentina
AS American Samoa
ATAustria
AU Australia (1)
AW Aruba
AX Åland Islands
AZ Azerbaijan
BA Bosnia and Herzegovina
BB Barbados
BD Bangladesh
BE Belgium (2)
BF Burkina Faso
BG Bulgaria
BH Bahrain
BI Burundi
BJ Benin
BL Saint Barthélemy
BM Bermuda
BN Brunei
BO Bolivia
BQ Bonaire Sint Eustatius and Saba
BR Brazil (1)
BS Bahamas
BT Bhutan
BV Bouvet Island
BW Botswana
BY Belarus
BZ Belize
CA Canada (2)
CC Cocos Islands
CD Democratic Republic of the Congo
CF Central African Republic
CG Republic of the Congo
CHSwitzerland
CI Côte d’Ivoire
CK Cook Islands
CL Chile (2)
CM Cameroon
CN China (6)
CO Colombia
CR Costa Rica
CU Cuba
CV Cabo Verde
CW Curaçao
CX Christmas Island
CY Cyprus
CZ Czechia
DE Germany (10)
DJ Djibouti
DKDenmark
DM Dominica
DO Dominican Republic
DZ Algeria
EC Ecuador
EE Estonia
EG Egypt
EH Western Sahara
ER Eritrea
ES Spain (5)
ET Ethiopia
FI Finland
FJ Fiji
FK Falkland Islands
FM Micronesia
FO Faroe Islands
FR France (4)
GA Gabon
GB United Kingdom (14)
GD Grenada
GE Georgia (2)
GF French Guiana
GG Guernsey
GH Ghana (2)
GI Gibraltar
GL Greenland
GM Gambia
GN Guinea
GP Guadeloupe
GQ Equatorial Guinea
GR Greece
GS South Georgia and South Sandwich Islands
GT Guatemala (1)
GU Guam
GW Guinea Bissau
GY Guyana
HK Hong Kong (3)
HM Heard Island and McDonald Islands
HN Honduras
HR Croatia
HT Haiti
HU Hungary
ID Indonesia
IE Ireland
ILIsrael
IM Isle of Man
IN India (1)
IO British Indian Ocean Territory
IQ Iraq
IR Iran (2)
IS Iceland
IT Italy (8)
JE Jersey
JM Jamaica
JO Jordan
JP Japan (9)
KE Kenya
KG Kyrgyzstan
KH Cambodia
KI Kiribati
KM Comoros
KN Saint Kitts and Nevis
KP North Korea
KR South Korea (2)
KW Kuwait
KY Cayman Islands
KZ Kazakhstan
LA Laos
LB Lebanon
LC Saint Lucia
LI Liechtenstein
LK Sri Lanka
LR Liberia
LS Lesotho
LT Lithuania (1)
LU Luxembourg
LV Latvia
LY Libya
MA Morocco (3)
MC Monaco
MD Moldova
ME Montenegro
MF Saint Martin
MG Madagascar
MH Marshall Islands
MK North Macedonia (1)
ML Mali
MM Myanmar
MN Mongolia
MO Macao
MP Northern Mariana Islands
MQ Martinique
MR Mauritania
MS Montserrat
MT Malta
MU Mauritius
MV Maldives
MW Malawi
MX Mexico (3)
MY Malaysia (1)
MZ Mozambique
NA Namibia
NC New Caledonia
NE Niger
NF Norfolk Island
NG Nigeria
NI Nicaragua
NL Netherlands (3)
NO Norway (1)
NP Nepal
NR Nauru
NU Niue
NZ New Zealand (1)
OM Oman
PA Panama
PE Peru
PF French Polynesia
PG Papua New Guinea
PH Philippines (1)
PK Pakistan
PL Poland (1)
PM Saint Pierre and Miquelon
PN Pitcairn
PR Puerto Rico
PS Palestine
PT Portugal (1)
PW Palau
PY Paraguay
QA Qatar
RE Réunion
RO Romania
RS Serbia
RU Russia (2)
RW Rwanda
SA Saudi Arabia
SB Solomon Islands
SC Seychelles
SD Sudan
SE Sweden (1)
SG Singapore (3)
SH Saint Helena
SI Slovenia
SJ Svalbard and Jan Mayen
SK Slovakia
SL Sierra Leone
SM San Marino
SN Senegal (1)
SO Somalia
SR Suriname
SS South Sudan
ST Sao Tome and Principe
SV El Salvador
SX Sint Maarten
SY Syria
SZ Eswatini
TC Turks and Caicos Islands
TD Chad
TF French Southern Territories
TG Togo
TH Thailand (2)
TJ Tajikistan
TK Tokelau
TL Timor Leste
TM Turkmenistan (1)
TN Tunisia
TO Tonga
TR Türkiye (3)
TT Trinidad and Tobago
TV Tuvalu
TW Taiwan
TZ Tanzania
UA Ukraine
UG Uganda (1)
UM United States Minor Outlying Islands
US United States (48)
UY Uruguay (1)
UZ Uzbekistan
VA Vatican City
VC Saint Vincent and the Grenadines
VE Venezuela
VG British Virgin Islands
VI United States Virgin Islands
VN Vietnam (1)
VU Vanuatu
WF Wallis and Futuna
WS Samoa
YE Yemen
YT Mayotte
ZA South Africa
ZM Zambia
ZW Zimbabwe
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Submission
As an open, discursive platform, allcitiesarebeautiful.com invites contributions from artists, photographers, writers, and publishers worldwide. Projects, publications, and texts can be submitted via the form below, following the category-specific guidelines. Submissions are welcomed from both emerging and established voices alike.
Printed matter:
If you wish to submit physical materials such as photo books, prints, or magazines, please complete the submission form first. Afterwards, send your materials to the address provided in the imprint and include all relevant publication details (e.g. artist, publisher, and press release).
Instagram:
Since 2018, allcitiesarebeautiful.com has been curating weekly photo collections on ↘︎ Instagram. You can share your posts using #allcitiesarebeautiful for a chance to be featured in the community round-up.
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Submissions are free of charge but undergo a careful editorial review to ensure quality and coherence. Submission does not guarantee publication, and review times may vary. Due to the number of entries, only selected contributors will be contacted. Incomplete or improperly formatted submissions cannot be considered. For any submission-related inquiries, contact hello [at] allcitiesarebeautiful.com.
Fields marked with an * are required.
Imprint
Publisher
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Identity, logo design:
↘︎ Anja Rausch
Design, web design:
↘︎ Alexandre Kurek
Typeface:
ABC Diatype, Dinamo Typefaces
Website built with:
↘︎ Lay Theme
Legal disclosure
(in accordance with § 5 TMG and § 18 (2) MStV)
Responsible:
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Hosting provider:
STRATO AG
Otto-Ostrowski-Straße 7
10249 Berlin, Germany
↘︎ www.strato.de
By accessing and using the website allcitiesarebeautiful.com (the platform), users accept the following terms and conditions. These terms are subject to change without prior notice. Continued use of the platform after changes have been published constitutes acceptance of the updated version. The platform is provided for non-commercial, cultural and informational purposes. Unless explicitly stated, no content may be copied, reproduced, modified, published, transmitted, publicly displayed, or distributed in any form without prior written permission from the rights holder. Users may view, print, or download content for personal, non-commercial use, provided that the source and the name of the author or creator are clearly identified. Any use of the platform or its content that infringes upon the rights of others or violates applicable law is prohibited. Access to the platform does not imply the granting of any rights beyond those expressly stated here.
The platform curates and publishes visual and textual works provided by independent photographers, writers, artists and other contributors. Unless otherwise noted, all rights remain with the respective authors and copyright holders. The platform does not claim authorship or ownership of such third-party content and acts solely as the publisher. Content may be published based on permission, license, or submission by its creator. All contributions are attributed to the original authors wherever possible. The platform refrains from using any contributed content for purposes beyond publication unless further consent is obtained. Any use, duplication, distribution, or adaptation of such content beyond personal and non-commercial use is not permitted without the explicit approval of the respective rights holder.
Submissions
Users may submit content (e.g. photographs, texts, visual media) to the platform voluntarily. By submitting, contributors confirm that:
• the content is their own original work or they possess the necessary rights and permissions to submit it;
• the content does not violate any applicable law or infringe any third-party rights (including copyright, trademark, personality, or privacy rights);
• the submission does not contain unlawful, defamatory, discriminatory, or otherwise inappropriate material.
By submitting content, contributors grant the platform a non-exclusive, royalty-free, worldwide license to publish, display, and archive the submitted material on allcitiesarebeautiful.com, in associated newsletters, and on related social media channels. This license is granted for the purposes of editorial use, communication, and platform documentation. It does not include resale, commercial distribution, or modification of the work without separate permission. Contributors retain full copyright in their work. Any additional use of the submitted content outside of the above-mentioned scope will require further agreement. Contributors agree to indemnify and hold the platform harmless against any claims, damages or legal expenses that may arise as a result of unlawful submissions or third-party rights violations.
Privacy Policy
In accordance with Regulation (EU) 2016/679 (GDPR), the responsibility for processing personal data in connection with this platform lies with Alexandre Kurek (contact above). This includes the collection, storage, and use of personal data as described in this policy. Inquiries or concerns related to data protection or the exercise of data subject rights under the GDPR can be submitted via email.
The website is hosted by STRATO AG (Germany). As part of the hosting service, STRATO AG automatically collects and processes access data (such as IP address, time of access, and browser information) in order to ensure the technical functionality, stability, and security of the website. This processing is carried out on the basis of a legally binding Data Processing Agreement in accordance with Article 28 of the General Data Protection Regulation (GDPR) between the platform operator and the hosting provider. STRATO AG acts strictly on instruction and does not process any personal data for its own purposes. Further information on data protection can be found ↘︎ here.
• When visiting the platform, technical data for security and error detection [Art. 6, 1 (f) GDPR] may be automatically processed, including: anonymized IP address, date and time of the request, visited pages or files, referrer URL, browser type and version, operating system.
• If contact is made via email or form, personal data (e.g. name, email address, message content) is processed to respond to the inquiry. [Art. 6(1)(b) or (f) GDPR] No data is transferred to third parties unless legally required or explicitly consented to.
• When submitting content, additional data may be collected, such as name, email address, biographical notes, and technical metadata. This data is used for editorial purposes and communication. [Art. 6(1)(a) or (f) GDPR]
• If a newsletter is subscribed to, personal data (email address and optionally name) will be processed by a third-party provider based in the EU or operating under a valid EU-US Data Privacy Framework. The subscription includes consent to store and process the data for the purpose of sending email updates. Subscription can be withdrawn at any time by using the unsubscribe link or contacting the address listed above. [Art. 6(1)(a) GDPR]
This website uses the analytics tool WP Statistics to evaluate visitor access for statistical purposes. The provider is Veronalabs, Tatari 64, 10134 Tallinn, Estonia (https://veronalabs.com). WP Statistics allows the website provider to analyze the use of the website. In doing so, WP Statistics collects log data (such as IP address, referrer, browser used, user’s origin, and search engine used) and user interactions on the website (e.g., clicks and page views). The data collected with WP Statistics is stored exclusively on the STRATO server. The use of this analytics tool is based on Article 6(1)(f) of the GDPR. The website provider has a legitimate interest in the anonymized analysis of user behavior in order to optimize the website. If consent has been requested, processing is carried out solely on the basis of Article 6(1)(a) of the GDPR and § 25(1) of the TDDDG, insofar as the consent includes the storage of cookies or access to information on the user’s device (e.g., device fingerprinting) as defined by the TDDDG. Consent can be revoked at any time.
This website uses Google Analytics, a service provided by Google Ireland Ltd., Gordon House, Barrow Street, Dublin 4, Ireland. Google Analytics uses cookies to analyze website usage. The information generated by the cookie (including IP address, truncated within the EU) is transmitted to a Google server and processed there. The data is used to evaluate user behavior and compile statistical reports. IP anonymization is active on this website. Data is processed based on consent [Art. 6(1)(a) GDPR] and may be withdrawn at any time via the cookie preferences. Users may also prevent data collection by disabling cookies in their browser or installing the following opt-out plugin: https://tools.google.com/dlpage/gaoptout. Further details: https://support.google.com/analytics/answer/6004245.
According to Articles 15–21 GDPR, data subjects have the right to: request access to their data, request correction or deletion, restrict processing, object to processing, request data portability, lodge a complaint with a supervisory authority.
Personal data is stored only for as long as necessary to fulfill its intended purpose or in accordance with statutory retention obligations. Data is deleted once the applicable period has expired.
Cookies
This website uses technically necessary cookies for its operation (e.g. session control, language preferences). Optional cookies—including those for statistical purposes (e.g. Google Analytics)—are used only with prior user consent (Art. 6(1)(a) GDPR). Cookie preferences can be managed via the cookie banner or browser settings. Disabling cookies may affect some website functions. Information about cookie types and purposes is available in the privacy policy above.
Imprint
Publisher
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Identity, logo design:
↘︎ Anja Rausch
Design, web design:
↘︎ Alexandre Kurek
Typeface:
ABC Diatype, Dinamo Typefaces
Website built with:
↘︎ Lay Theme
Legal disclosure
(in accordance with § 5 TMG and § 18 (2) MStV)
Responsible:
Alexandre Kurek
Martin-Luther-Straße 76
10825 Berlin, Germany
Email:
hello [at] allcitiesarebeautiful.com
Hosting provider:
STRATO AG
Otto-Ostrowski-Straße 7
10249 Berlin, Germany
↘︎ www.strato.de
By accessing and using the website allcitiesarebeautiful.com (the platform), users accept the following terms and conditions. These terms are subject to change without prior notice. Continued use of the platform after changes have been published constitutes acceptance of the updated version. The platform is provided for non-commercial, cultural and informational purposes. Unless explicitly stated, no content may be copied, reproduced, modified, published, transmitted, publicly displayed, or distributed in any form without prior written permission from the rights holder. Users may view, print, or download content for personal, non-commercial use, provided that the source and the name of the author or creator are clearly identified. Any use of the platform or its content that infringes upon the rights of others or violates applicable law is prohibited. Access to the platform does not imply the granting of any rights beyond those expressly stated here.
The platform curates and publishes visual and textual works provided by independent photographers, writers, artists and other contributors. Unless otherwise noted, all rights remain with the respective authors and copyright holders. The platform does not claim authorship or ownership of such third-party content and acts solely as the publisher. Content may be published based on permission, license, or submission by its creator. All contributions are attributed to the original authors wherever possible. The platform refrains from using any contributed content for purposes beyond publication unless further consent is obtained. Any use, duplication, distribution, or adaptation of such content beyond personal and non-commercial use is not permitted without the explicit approval of the respective rights holder.
Submissions
Users may submit content (e.g. photographs, texts, visual media) to the platform voluntarily. By submitting, contributors confirm that:
• the content is their own original work or they possess the necessary rights and permissions to submit it;
• the content does not violate any applicable law or infringe any third-party rights (including copyright, trademark, personality, or privacy rights);
• the submission does not contain unlawful, defamatory, discriminatory, or otherwise inappropriate material.
By submitting content, contributors grant the platform a non-exclusive, royalty-free, worldwide license to publish, display, and archive the submitted material on allcitiesarebeautiful.com, in associated newsletters, and on related social media channels. This license is granted for the purposes of editorial use, communication, and platform documentation. It does not include resale, commercial distribution, or modification of the work without separate permission. Contributors retain full copyright in their work. Any additional use of the submitted content outside of the above-mentioned scope will require further agreement. Contributors agree to indemnify and hold the platform harmless against any claims, damages or legal expenses that may arise as a result of unlawful submissions or third-party rights violations.
Privacy Policy
In accordance with Regulation (EU) 2016/679 (GDPR), the responsibility for processing personal data in connection with this platform lies with Alexandre Kurek (contact above). This includes the collection, storage, and use of personal data as described in this policy. Inquiries or concerns related to data protection or the exercise of data subject rights under the GDPR can be submitted via email.
The website is hosted by STRATO AG (Germany). As part of the hosting service, STRATO AG automatically collects and processes access data (such as IP address, time of access, and browser information) in order to ensure the technical functionality, stability, and security of the website. This processing is carried out on the basis of a legally binding Data Processing Agreement in accordance with Article 28 of the General Data Protection Regulation (GDPR) between the platform operator and the hosting provider. STRATO AG acts strictly on instruction and does not process any personal data for its own purposes. Further information on data protection can be found ↘︎ here.
• When visiting the platform, technical data for security and error detection [Art. 6, 1 (f) GDPR] may be automatically processed, including: anonymized IP address, date and time of the request, visited pages or files, referrer URL, browser type and version, operating system.
• If contact is made via email or form, personal data (e.g. name, email address, message content) is processed to respond to the inquiry. [Art. 6(1)(b) or (f) GDPR] No data is transferred to third parties unless legally required or explicitly consented to.
• When submitting content, additional data may be collected, such as name, email address, biographical notes, and technical metadata. This data is used for editorial purposes and communication. [Art. 6(1)(a) or (f) GDPR]
• If a newsletter is subscribed to, personal data (email address and optionally name) will be processed by a third-party provider based in the EU or operating under a valid EU-US Data Privacy Framework. The subscription includes consent to store and process the data for the purpose of sending email updates. Subscription can be withdrawn at any time by using the unsubscribe link or contacting the address listed above. [Art. 6(1)(a) GDPR]
This website uses the analytics tool WP Statistics to evaluate visitor access for statistical purposes. The provider is Veronalabs, Tatari 64, 10134 Tallinn, Estonia (https://veronalabs.com). WP Statistics allows the website provider to analyze the use of the website. In doing so, WP Statistics collects log data (such as IP address, referrer, browser used, user’s origin, and search engine used) and user interactions on the website (e.g., clicks and page views). The data collected with WP Statistics is stored exclusively on the STRATO server. The use of this analytics tool is based on Article 6(1)(f) of the GDPR. The website provider has a legitimate interest in the anonymized analysis of user behavior in order to optimize the website. If consent has been requested, processing is carried out solely on the basis of Article 6(1)(a) of the GDPR and § 25(1) of the TDDDG, insofar as the consent includes the storage of cookies or access to information on the user’s device (e.g., device fingerprinting) as defined by the TDDDG. Consent can be revoked at any time.
This website uses Google Analytics, a service provided by Google Ireland Ltd., Gordon House, Barrow Street, Dublin 4, Ireland. Google Analytics uses cookies to analyze website usage. The information generated by the cookie (including IP address, truncated within the EU) is transmitted to a Google server and processed there. The data is used to evaluate user behavior and compile statistical reports. IP anonymization is active on this website. Data is processed based on consent [Art. 6(1)(a) GDPR] and may be withdrawn at any time via the cookie preferences. Users may also prevent data collection by disabling cookies in their browser or installing the following opt-out plugin: https://tools.google.com/dlpage/gaoptout. Further details: https://support.google.com/analytics/answer/6004245.
According to Articles 15–21 GDPR, data subjects have the right to: request access to their data, request correction or deletion, restrict processing, object to processing, request data portability, lodge a complaint with a supervisory authority.
Personal data is stored only for as long as necessary to fulfill its intended purpose or in accordance with statutory retention obligations. Data is deleted once the applicable period has expired.
Cookies
This website uses technically necessary cookies for its operation (e.g. session control, language preferences). Optional cookies—including those for statistical purposes (e.g. Google Analytics)—are used only with prior user consent (Art. 6(1)(a) GDPR). Cookie preferences can be managed via the cookie banner or browser settings. Disabling cookies may affect some website functions. Information about cookie types and purposes is available in the privacy policy above.
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The allcitiesarebeautiful.com newsletter offers a curated overview of new projects, texts, and publications featured on the platform, along with occasional recommendations and selected news from the wider community. On special occasions, you will also receive information about upcoming events, publications, and related initiatives. No automated mailings, no unnecessary messages—only relevant updates. You can unsubscribe at any time via the link provided in the email footer.
Info:
Fields marked with an * are required
Newsletter
The allcitiesarebeautiful.com newsletter offers a curated overview of new projects, texts, and publications featured on the platform, along with occasional recommendations and selected news from the wider community. On special occasions, you will also receive information about upcoming events, publications, and related initiatives. No automated mailings, no unnecessary messages—only relevant updates. You can unsubscribe at any time via the link provided in the email footer.
Info:
Fields marked with an * are required