Who isn't familiar with him in Swiss banking? For more than three decades, Jan Bielinski served at the esteemed Zurich private bank Julius Baer, documenting its dynamic evolution throughout the years. Since 2018, he has embraced his greatest passion – a journey that has taken him halfway around the globe. Now, the former private banker who turned to photography and became an artist, is presenting a selection of his work in Zug.
Jan Bielinski, how did you get into photography?
I started using a camera properly in the mid-1970s. I financed my first SLR (Single-Lens Reflex) by selling my stamp collection.
How and when did this «hobby» become art?
Hong Kong 2014 (Image: Jan Bielinski)
That was a fluid transition. I began photographing more intensively in the 2000s. After my retirement in 2018, I finally had the necessary time for it.
You worked for more than three decades as a bank executive at the Zurich-based private bank Julius Baer. Have you never thought about reflecting on «the world of money»?
Yes, I would have liked to photograph the world of traders within the bank, but I refrained for reasons of discretion.
What is your approach to photography?
Singapore 2017 (Image: Jan Bielinski)
For me, authenticity comes first. My images should convey what is, and how I see it. I edit my images only minimally, ideally not at all.
How would you describe your style?
Today, my style is best classified as «Street and Documentary Photography.»
Why only black-and-white images?
Colors often distract. The fascination of black-and-white photography lies in its focus on the essentials. Contrasts, light, shadows, etc., make the message of an image more intense and, in my view, more compelling. Ultimately, it is a different visual language.
Which other photographers influence you?
St. Moritz 2011 (Image: Jan Bielinski)
Photographers such as Henri Cartier-Bresson, Robert Capa, and André Kertész are truly beautiful and inspiring examples.
What are your most exciting, «unforgettable» shots?
There are, of course, several. In 1987, I visited southern China for the first time, where I was almost free to shoot. In 2008, I photographed the hutongs in Beijing—the traditional, narrow alleys where hundreds of thousands of people live in very confined spaces and under very simple conditions.
In the same year, I drove approximately 4,000 kilometers through Mongolia – a unique experience, also from a photographic standpoint. The most culturally fascinating journey took me to Uzbekistan in 2015.
Is there a common element in your photographic work?
Kyrgyzstan 2015 (Image: Jan Bielinski)
It is the pursuit of authenticity that – intentionally or not – leads to socially critical and politically diverse statements.
More and more images are being created using artificial intelligence (AI). Does that worry you?
We're only at the very beginning in that regard, and what will be possible in five or more years is hard to imagine. When used positively, AI is truly fascinating. Over time, an additional independent art form will likely evolve.
How does a «real» image differ from an «AI creation»?
AI creations still come off as «artificial,» but they’re less «artistic» than a real image.
Which photographic assignment would challenge you the most, or simply put, what image would you still like to «shoot»?
Every project in an urban environment excites me. And currently: I would very much like to shoot an image of Vladimir Putin and Donald Trump together in straitjackets.
(Image: Natasha Polskaya)
Jan A. Bielinski lives in Zug and is a Swiss photographer who casts urban scenes and everyday moments in a new light with his black-and-white works. Before fully dedicating himself to art photography, he worked for more than 34 years at the Zurich-based private bank Julius Baer, most recently as a member of the management board. His photographs tell stories of beauty, contrasts, and the deep connection between people and the city, and have been exhibited in London, Moscow, and Lucerne. Under the title «Between Light And Shade – A Visual Journey Through Urban Worlds,» a selection of his images are exhibited from March 6–29, 2025, at Galerie Gleis4 at Zug railway station.
