The PiB Guide

An essential part of PiB | Photography in Berlin is the PiB Guide, which presents selected photography events in a printed form. The guide is published bi-monthly in an edition of currently 5.000 copies & is available in participating galleries, photography institutions, bookstores & other places throughout Berlin. (Which places? Please see below…)

With the printed guide, PiB aims to reach a wider art audience in Berlin – especially those who might be tired of the digital world. Besides, it’s nice to hold something haptic in your hands for a change, isn’t it? Due to its handy pocket-size format you can always carry the little leporello guide with you – and discover interesting photography exhibitions & events throughout Berlin!

The guide is printed carbon-neutral and with organic inks on matte, premium white 100% recycling paper.

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If you would like to present your upcoming exhibition or event in the next PiB Guide, please don’t hesitate to get in touch for further details. If possible, please send along a link to the website/works of the participating artist(s).
The editorial deadline for the Jan/Feb 2016 issue is Friday, December 18th, 2015.

Single Copies / Annual Subscription

The PiB guide is available at many galleries & places in Berlin – but of course you can also order your copy and have it delivered by post!

Or if you’re interested in having the guide regularly delivered to you, PiB’s annual subscription is ideal for you!

The PiB Guide Nov/Dec 2015 is here!

Thanks to René Groebli for the wonderful cover image, The dancers in the Zurich Tresterclub (1947)!

Photographs from his new book «René Groebli – Early Work (1945-1955)», published by Sturm & Drang, 2015, are currently exhibited at Bildband Berlin [Prenzlauer Berg] until Dec 4, 2015. The book, of course, is available as well.

Background infos on the image & René Groebli

Who is René Groebli? He is a blind spot. Perhaps he is the proverbial blind spot, the «Missing Link» in the history of modern Swiss photography.

The first to notice him was the American photographer and curator Edward Steichen, the visionary Steichen who had towards the end of the 1940s established at the New York Museum of Modern Art the first photography department world-wide. For the museum’s collection he acquired Groebli’s image poem «Das Auge der Liebe» (They Eye of Love). The Swiss also formed part of the monumental MoMA exhibition «The Family of Man» (1955), the attempt at an all-encompassing portrait of humanity that until today travels around the world. Steichen’s successor John Szarkowski in turn integrated Groebli in his exhibition «The Photographer’s Eye» (1964) and afforded him a special place in the publication of the same name.

In Germany Otto Steinert, the important post-war photographer and professor at the Werkkunstschule Saarbrücken, member of the vanguard group «fotoform», recognised Groebli’s potential. He showed his movement studies in the exhibitions «subjektive fotografie» (1951/1954).

The dancers in the Zurich Tresterclub (1947) embodied for Steinert the visionary possibilities of the medium, the State of the Art of progressive photography. Characteristic for this artist: he is an artist in motion. Movement is his inner nature. Therefore he never implemented the development of his art in a linear fashion, the single image as a static icon. On the contrary, he thinks the medium centrifugally, outwards from its centre. And this centre means movement, is dynamics. It is the archetype of creativity.

René Groebli is the missing link in the Swiss photographic history of the second half of the 20th century. He merges the romanticism in photography with the visions of the technician, the modernist. His decisive publications were made years before those by Robert Frank. In their power they are his equal, as to their impact the works of Groebli are yet to be discovered. Be prepared for surprises.