1
Rotterdam, Netherlands
(1) Please introduce yourself: What is your name, where are you from, what do you do?
Hi, I'm Frank van der Salm, born in Delft, but working and living in Rotterdam, the Netherlands, where I also have my studio. Both my own projects and works on commission deal with the urban environment, architecture, and the changes that digitalisation and globalisation have (had) on our urban experience.
(2) What is your relationship with photography and how did you get into it?
Since a young kid, I've always taken family photographs, but it wasn't until 3 years of studying Geodesy at the Technical University of Delft that I decided to change and focus on Visual Arts. Both painting and photography were my main concerns, for video to follow later. Since graduating from the Willem de Kooning Academy in 1992, photography and video rule my world, first of all focusing on landscapes, later urban landscapes in the broadest sense of the word.
(3) What do you think triggers you to photograph in a certain moment? Is it planned or solely driven by intuition?
It's both planned and intuitive. Planning my trips takes a lot of time researching the topics and means reading and talking quite a lot, searching the internet, etc., every way possible. After that, I kind of know what certain locations might provide, and I go, after which it's working intuitively. But, on location, there's still a lot of scouting involved, before the actual photography happens. Getting to know a place live is actually necessary, to have an idea of scale, differences in population numbers, viewpoints, etc. Only after a week or so, in which I've visited a lot of spots both during the day and during the night, does the camera come into view.It's both planned and intuitive. Planning my trips takes a lot of time researching the topics and means reading and talking quite a lot, searching the internet, etc., every way possible. After that, I kind of know what certain locations might provide, and I go, after which it's working intuitively. But, on location, there's still a lot of scouting involved, before the actual photography happens. Getting to know a place live is actually necessary, to have an idea of scale, differences in population numbers, viewpoints, etc. Only after a week or so, in which I've visited a lot of spots both during the day and during the night, does the camera come into view.
(4) What is the story you want your pictures to tell?
That differs. I regard photography not as a tool of registration and not as a way of creating series in a purely documentary way. Since reality is different everywhere, the photographic technique I use to transform reality and bring it into my own realm differs as well. Photography is not about the defining moment to me, but a way of prolonging time in itself. With a photograph, you leave reality behind and create something new. Reality is a starting point, of course, but that's it. And reality is not only the 3D environment, but everything that is building our ideas and thoughts on urbanity, like LCD screens, advertising leaflets, models, etc. So, there's no series, there's no registration, only the creation of single pieces and every time a technical approach that suits that specific situation. If you'd do want to discuss my work in a documentary sense, it would not be a document of a building or an environment or a situation, but a documentation of time and space itself. My ideas on photography and its role are therefore not as much about telling people something, for in a digitised and globalised world there are too many images telling us where to go, what to do, and how to behave. We’re overloaded with images. To take people seriously, to value them, I have to involve them and that means I have to create an opportunity for the viewer. What do you think, as a viewer? Although my scenes are mostly void of people, it's all about people. What we build, how we connect, what we leave behind is more telling about who we as a people are, as a species. The viewer is the only one present and needs to decide on his/her position with the images. Who am I and what do I think of that? The images are recognisable West orientated, I sometimes refer to them as focussed on consumer orientated societies. We know these places, but where am I? Is this true? Is this who we are? In the diversity of the images, there's the opportunity to collect and to connect, to build your own idea of what reality is and what it exists of. It's much more than consuming of images and/or appreciating its aesthetic presence.
(5) Which city would you like to visit the most, and why?
For now, it would be Abu Dhabi/Dubai or Nur Sultan, for my latest view on photography deals with cities that present themselves as cities of the future, and that's what these cities do.
(6) What is your personal relationship to cities and how do you perceive them as places in general?
Cities are places of creation and change, and that's what I value most about them. Where cultures come together and collide, where changes are rapid and far-reaching, where people need to improvise with the ample space available, and where new ideas on what reality is are born. I do value the countryside and wide-open spaces in the mountains as well, but with a world population now over 50% living in big cities, these cities have become our new natural habitat.
(7) What is the driving force behind creation?
The driving force behind creation is multiple. The inner need and arrogance that I think I have something to say about the places we live in and the ways we deal with others and media, for example. But also, to rethink what exists in our daily lives and the extremities of what we build on sometimes on a nonhuman scale, or the way we envision the future and the inner necessity to create something of immaterial value in a world that values money most of all.
(8) Which project did you never finish?
None, but some projects come out better than others, of course.
(9) What is that «one thing» you have never managed to photograph and is now gone for good?
I don't really work thinking that way, so that didn't happen literally, but I once had in mind photographing in the cities of the former Warsaw Pact, right after that became possible. That didn't happen for several reasons.
(10) If you could travel back / forth in time, what advice would you give your younger / older self?
My advice would be to travel more, travel longer, and create bigger projects.
(11) What do you prefer saying: To «take a photograph» or to «make a photograph», and why?
«Make» a photograph, also see my earlier answers. I don't take something to myself, take it away, because when photographing I don't reduce or multiply reality. It's a very strong feeling that I’ve had all my professional life. To me it's of no use referring to a photograph as referring to the situation we already have right before taking it. What would that add? Creation is more important than anything else. By making a photograph it also includes the process after taking it. It doesn't matter how far digital manipulation goes or where the image is taken from, it's the image itself, the end result, that should communicate what I want to communicate. Whether it's true to reality doesn't matter to me, as long as it's true to myself. To me, when it's about photography, copying is a no-go, lying isn’t.
(12) What is the most interesting experience you have had while photographing?
In Shanghai, I wanted to photograph from one of the balconies of one of the upper floors of an office building, near the harbour. I thought I would need to do a lot of explanation, so I went over to a security guy, who just stepped aside and invited me in without a word. I don't speak Chinese. Near the elevator, a hostess opened the doors and showed me in, pushing a button for one of the higher floors. It was like she was expecting me and knew where I wanted to go. Still not a word. Once arrived, the doors opened, and another hostess pointed me towards an office. I went in, to a large conference room, with no people, but a door to a balcony on the right. I entered the balcony, where I photographed the city for an hour and a half. During this process, the curtains behind me were closed, so I was on the balcony, and nobody saw me there. Once I finished photographing, I re-entered the conference room, which by then was completely filled with a mixture of Chinese and Western businessmen and decorated officials. The discussion they were in fell completely silent when they saw me entering from the balcony. They were very surprised, to say the least. The chairman, who did speak English apparently, asked me what I had been doing there and that it was illegal for me to be there at all, let alone photograph. I apologised and left the building quickly. Most probably, the security guy and the hostesses had mistakenly thought I was there for the conference. The work I photographed is Cycle (2006).
(13) If it wasn’t for photography, what would you be interested in doing instead?
I'd either be an architect or an archaeologist.
(14) How would you describe one of your pictures to a visually impaired person?
Imagine a place and let's call it a city. Imagine a place where a lot of people with different backgrounds have come together with different needs, hopes, dreams, and built a lot of different structures of concrete and steel, large and small, where they live and work. Imagine all of them going to different places to make money and how you would organise the millions that are on the move to achieve this. Imagine how an organisation of these movements is possible or impossible and imagine how a political system and an economic system that's based on making money and make-believe influences the ways we can experience these worlds. Imagine products that are visible all over the city telling us what to buy and how to dress, what to think and what to do, and imagine you encounter these products more each day and then imagine that you have total freedom to decide on your response to these machinations. Who are you in this urban world? Now, imagine 2D-images, multiple, diverse, dealing with how people control their spaces, control nature, define what nature is, like the bonsai tree, a climax of human control over nature, (Detail, 2007), where nature has become culture and with a lot of other images that are referring to these urban mentality and to the places where over the years improvisation has meant places do change and develop into spaces that are on the one hand providing and on the other hand limiting certain groups of people.... Imagine that all of these images combined are conceptually woven together, but aesthetically and in its presentation are as diverse as the cities they are taken from. Imagine what you would think of these images and think it. Think big and think small, think blurry and in detail, think presence and oblivion and you have my pictures.
(15) What are you currently working on, and—if there is—what is your next project or journey?
A first visit to Osaka and the 1970s World Expo site, my new project will focus on the future of cities. That will bring me to both places I've been before but also new locations. What it will bring, I don't know, and that's part of the excitement…
Thank you, Frank.
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Images
1–20 Frank van der Salm, Rotterdam, Netherlands 2014–2021.
↘︎ Website
1
Rotterdam, Netherlands
(1) Please introduce yourself: What is your name, where are you from, what do you do?
Hi, I'm Frank van der Salm, born in Delft, but working and living in Rotterdam, the Netherlands, where I also have my studio. Both my own projects and works on commission deal with the urban environment, architecture, and the changes that digitalisation and globalisation have (had) on our urban experience.
(2) What is your relationship with photography and how did you get into it?
Since a young kid, I've always taken family photographs, but it wasn't until 3 years of studying Geodesy at the Technical University of Delft that I decided to change and focus on Visual Arts. Both painting and photography were my main concerns, for video to follow later. Since graduating from the Willem de Kooning Academy in 1992, photography and video rule my world, first of all focusing on landscapes, later urban landscapes in the broadest sense of the word.
(3) What do you think triggers you to photograph in a certain moment? Is it planned or solely driven by intuition?
It's both planned and intuitive. Planning my trips takes a lot of time researching the topics and means reading and talking quite a lot, searching the internet, etc., every way possible. After that, I kind of know what certain locations might provide, and I go, after which it's working intuitively. But, on location, there's still a lot of scouting involved, before the actual photography happens. Getting to know a place live is actually necessary, to have an idea of scale, differences in population numbers, viewpoints, etc. Only after a week or so, in which I've visited a lot of spots both during the day and during the night, does the camera come into view.It's both planned and intuitive. Planning my trips takes a lot of time researching the topics and means reading and talking quite a lot, searching the internet, etc., every way possible. After that, I kind of know what certain locations might provide, and I go, after which it's working intuitively. But, on location, there's still a lot of scouting involved, before the actual photography happens. Getting to know a place live is actually necessary, to have an idea of scale, differences in population numbers, viewpoints, etc. Only after a week or so, in which I've visited a lot of spots both during the day and during the night, does the camera come into view.
(4) What is the story you want your pictures to tell?
That differs. I regard photography not as a tool of registration and not as a way of creating series in a purely documentary way. Since reality is different everywhere, the photographic technique I use to transform reality and bring it into my own realm differs as well. Photography is not about the defining moment to me, but a way of prolonging time in itself. With a photograph, you leave reality behind and create something new. Reality is a starting point, of course, but that's it. And reality is not only the 3D environment, but everything that is building our ideas and thoughts on urbanity, like LCD screens, advertising leaflets, models, etc. So, there's no series, there's no registration, only the creation of single pieces and every time a technical approach that suits that specific situation. If you'd do want to discuss my work in a documentary sense, it would not be a document of a building or an environment or a situation, but a documentation of time and space itself. My ideas on photography and its role are therefore not as much about telling people something, for in a digitised and globalised world there are too many images telling us where to go, what to do, and how to behave. We’re overloaded with images. To take people seriously, to value them, I have to involve them and that means I have to create an opportunity for the viewer. What do you think, as a viewer? Although my scenes are mostly void of people, it's all about people. What we build, how we connect, what we leave behind is more telling about who we as a people are, as a species. The viewer is the only one present and needs to decide on his/her position with the images. Who am I and what do I think of that? The images are recognisable West orientated, I sometimes refer to them as focussed on consumer orientated societies. We know these places, but where am I? Is this true? Is this who we are? In the diversity of the images, there's the opportunity to collect and to connect, to build your own idea of what reality is and what it exists of. It's much more than consuming of images and/or appreciating its aesthetic presence.
(5) Which city would you like to visit the most, and why?
For now, it would be Abu Dhabi/Dubai or Nur Sultan, for my latest view on photography deals with cities that present themselves as cities of the future, and that's what these cities do.
(6) What is your personal relationship to cities and how do you perceive them as places in general?
Cities are places of creation and change, and that's what I value most about them. Where cultures come together and collide, where changes are rapid and far-reaching, where people need to improvise with the ample space available, and where new ideas on what reality is are born. I do value the countryside and wide-open spaces in the mountains as well, but with a world population now over 50% living in big cities, these cities have become our new natural habitat.
(7) What is the driving force behind creation?
The driving force behind creation is multiple. The inner need and arrogance that I think I have something to say about the places we live in and the ways we deal with others and media, for example. But also, to rethink what exists in our daily lives and the extremities of what we build on sometimes on a nonhuman scale, or the way we envision the future and the inner necessity to create something of immaterial value in a world that values money most of all.
(8) Which project did you never finish?
None, but some projects come out better than others, of course.
(9) What is that «one thing» you have never managed to photograph and is now gone for good?
I don't really work thinking that way, so that didn't happen literally, but I once had in mind photographing in the cities of the former Warsaw Pact, right after that became possible. That didn't happen for several reasons.
(10) If you could travel back / forth in time, what advice would you give your younger / older self?
My advice would be to travel more, travel longer, and create bigger projects.
(11) What do you prefer saying: To «take a photograph» or to «make a photograph», and why?
«Make» a photograph, also see my earlier answers. I don't take something to myself, take it away, because when photographing I don't reduce or multiply reality. It's a very strong feeling that I’ve had all my professional life. To me it's of no use referring to a photograph as referring to the situation we already have right before taking it. What would that add? Creation is more important than anything else. By making a photograph it also includes the process after taking it. It doesn't matter how far digital manipulation goes or where the image is taken from, it's the image itself, the end result, that should communicate what I want to communicate. Whether it's true to reality doesn't matter to me, as long as it's true to myself. To me, when it's about photography, copying is a no-go, lying isn’t.
(12) What is the most interesting experience you have had while photographing?
In Shanghai, I wanted to photograph from one of the balconies of one of the upper floors of an office building, near the harbour. I thought I would need to do a lot of explanation, so I went over to a security guy, who just stepped aside and invited me in without a word. I don't speak Chinese. Near the elevator, a hostess opened the doors and showed me in, pushing a button for one of the higher floors. It was like she was expecting me and knew where I wanted to go. Still not a word. Once arrived, the doors opened, and another hostess pointed me towards an office. I went in, to a large conference room, with no people, but a door to a balcony on the right. I entered the balcony, where I photographed the city for an hour and a half. During this process, the curtains behind me were closed, so I was on the balcony, and nobody saw me there. Once I finished photographing, I re-entered the conference room, which by then was completely filled with a mixture of Chinese and Western businessmen and decorated officials. The discussion they were in fell completely silent when they saw me entering from the balcony. They were very surprised, to say the least. The chairman, who did speak English apparently, asked me what I had been doing there and that it was illegal for me to be there at all, let alone photograph. I apologised and left the building quickly. Most probably, the security guy and the hostesses had mistakenly thought I was there for the conference. The work I photographed is Cycle (2006).
(13) If it wasn’t for photography, what would you be interested in doing instead?
I'd either be an architect or an archaeologist.
(14) How would you describe one of your pictures to a visually impaired person?
Imagine a place and let's call it a city. Imagine a place where a lot of people with different backgrounds have come together with different needs, hopes, dreams, and built a lot of different structures of concrete and steel, large and small, where they live and work. Imagine all of them going to different places to make money and how you would organise the millions that are on the move to achieve this. Imagine how an organisation of these movements is possible or impossible and imagine how a political system and an economic system that's based on making money and make-believe influences the ways we can experience these worlds. Imagine products that are visible all over the city telling us what to buy and how to dress, what to think and what to do, and imagine you encounter these products more each day and then imagine that you have total freedom to decide on your response to these machinations. Who are you in this urban world? Now, imagine 2D-images, multiple, diverse, dealing with how people control their spaces, control nature, define what nature is, like the bonsai tree, a climax of human control over nature, (Detail, 2007), where nature has become culture and with a lot of other images that are referring to these urban mentality and to the places where over the years improvisation has meant places do change and develop into spaces that are on the one hand providing and on the other hand limiting certain groups of people.... Imagine that all of these images combined are conceptually woven together, but aesthetically and in its presentation are as diverse as the cities they are taken from. Imagine what you would think of these images and think it. Think big and think small, think blurry and in detail, think presence and oblivion and you have my pictures.
(15) What are you currently working on, and—if there is—what is your next project or journey?
A first visit to Osaka and the 1970s World Expo site, my new project will focus on the future of cities. That will bring me to both places I've been before but also new locations. What it will bring, I don't know, and that's part of the excitement…
Thank you, Frank.
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Images
1–20 Frank van der Salm, Rotterdam, Netherlands 2014–2021.
↘︎ Website
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
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.
Info:
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.
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.
Info:
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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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
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