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Timm Sonnenschein: Division, Resistance & Empowerment 15.01 – 24.02.2018

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Timm Sonnenschein: Division, Resistance & Empowerment 15.01 – 24.02.2018 Timm Sonnenschein: Division, Resistance & Empowerment 15.01 – 24.02.2018 Timm Sonnenschein: Division, Resistance & Empowerment 15.01 – 24.02.2018 Division, Resistance & Empowerment As a dedicated idealist, Timm Sonnenschein produces photographic work informed by a search for social and political justice. Sonnenschein seeks to empathise with those he photographs while simultaneously exposing and opposing the forces he sees as undermining an open and engaged contemporary society. He has been using photography as a tool to create insightful and critical observations of social awareness and change. The work displayed in this exhibition looks at class discrepancies, social injustice, workers’ rights, political struggles and racial tensions. It attempts to open a dialogue, which encourages empathetic insights that work toward strengthening dignity and respect within an often divided society. Sonnenschein is a German born documentary photographer who has lived and worked in Birmingham for over 17 years. He is a lecturer in photography at Birmingham City University and is a member of the National Union of Journalists. Since his ordination in 2004 he has been a member of the Triratna Buddhist Order. As a researcher Sonnenschein is exploring what position and shape empathy takes and how it is experienced within social and political documentary photography. All images displayed in the exhibition are held in the archive of the independent picture library Report Digital. The exhibition consists of six sections, each supported by essays written by Dr. Kieran Connell, Andrew Faux, Fuji Sonnenschein, Alan Weaver and Timm Sonnenschein himself. Trade Unions: Workers’ struggles Trade unions have a long history of public protest, as depicted by the photograph showing the re-enactment of Women chainmakers marching through Cradley Heath in 1910. That march, celebrated each year by the Trades Union Congress (TUC) organised Women Chainmakers festival, commemorates the successful struggle of home-workers to earn the first minimum wage - ten shillings a week (50 pence today). That was a march against injustice and austerity. It seems everything unions do today has an historical equivalent. It’s a union’s core function to stand up against injustice, be that in the workplace or to protest against a government that seeks to remove the pillars of civilised society. Trade unionists are no different to anyone else in society, they too feel the pain of cuts to services affecting their families, friends and neighbours. It’s just that they don’t take it lying down. Trade unions are often portrayed as out of date, old-fashioned institutions that dwell in the past and have no relevance in society today. The media appear interested in them only when there is conflict between union and employer, or when protest hits the streets. Unions are generally portrayed in the press as harbingers of doom that bring only misery. And it is true, unions are involved in misery. But far from creating it, they are actually in the business of alleviating it. No-one calls their union on a good day. By definition, they contact their union when they have a problem. Because unions have well-trained lay and professional representatives many of these problems are sorted out behind closed doors. The grievance is heard, the disciplinary is settled, the pay claim is negotiated, the health and safety of the workforce are protected for another day. But those stories are rarely heard, and rarely make for good photographs. However, there are times when those behind the scene negotiations get nowhere. When talks fail the union hits the streets and it’s those photographs, of unions bringing vitally important issues to the attention of the public, that make the news. The classic trade union photograph shows a picket line, complete with flaming brazier to fend off the winter chill, and placards and banners with the union name writ large. Picket line photos depict the withdrawal of labour from an employer and show public defiance against the injustice that caused the strike in the first place. There is an integrity and dignity about public protest, about working people showing they won’t stand for what is happening, be that public service cuts affecting the neediest in society, or attacks on their pay and (more often these days) their pensions. Today, social media makes it much easier for like-minded groups to get together to support a cause or single issue. Before Facebook and Twitter, the only people organised enough, with structures to spread the message, were trade unions. Today’s protest groups stand on the shoulders of campaigns driven by organised labour. But protest is only part of the story. Unions are a positive force for economic and social justice, campaigning for well-paid jobs in industries where workers have a future and where they can be proud to work. There is a special solidarity shown by trade unionists who support colleagues in different industrial sectors, speaking up for their cause because it’s the right thing to do. At the end of the day, unions understand that what keeps communities together are good, well-paid jobs, decent housing and effective public services. And that is well worth taking to the streets for. Alan Weaver Policy and campaigns officer for the Midlands TUC from 1996 to 2014 Timm Sonnenschein (2011) TUC ‘March for the Alternative’ passing the Houses of Parliament, London. 26.03.2011 Timm Sonnenschein (2013) Maggie showing her almost empty purse, in her council flat…20.05.2013 Poverty and Austerity “A life of dignity and happiness for all human beings without exception is the very least we can expect, actually demand.” (Greenway, 2017) Since I started my early political education largely through the lyrics of socially critical bands from the extreme music genres, it gives me great pleasure to begin this text with a quote from Barney Greenway of Napalm Death. This education gave birth to an idealism that led me into political activism and awoke an urge in me to challenge the consequences of unequal power and wealth distributions - a path that took me to the camera as a means to communicate what I saw as socially questionable, or plain and simply, unjust. Whilst I believe the condition of happiness is ultimately brought about by an inner position of self-effort, there are nevertheless many members of our society who grow up lacking equal opportunities, and who are not receiving the social dignity and respect they deserve. The images shown here are observations of individuals living in disadvantaged, and at times impoverished, circumstances. They also depict those offering social and educational support. Within a society based around individual gain, those on its fringes are frequently left behind, whilst those active in social support organisations are increasingly facing obstructions through harsh austerity politics. With documentary photography often engaged with observing the underprivileged, it has been criticised for deriving from and upholding unequal positions; “Scholars of documentary photography argue that the gaze of privilege is imbedded in the unequal power relations that are intrinsic to the structure of documentary photojournalism.” (Cassidy, 2012) and that “Documentary, as we know it, carries (old) information about a group of powerless people to another group addressed as socially powerful.” (Rosler, 1981) However, despite the photographers’ perceived intrusions and acts of power in response to those they photograph, documentary photographers can also be seen to base their work on similarly intrinsic other-regarding intentions. “I try to use whatever I know about photography to be of service to the people I'm photographing. Documentary photography … gives a voice to those who otherwise would not have a voice. And as a reaction, it stimulates public opinion and gives impetus to public debate.” (Nachtwey, 2007) As an expression of my idealism and photographic accountability I believe I have a responsibility to honour the trust I am offered by those who let me share my photographic insights into their lives. This is an ethical responsibility I uphold in offering truthful and empathetic depictions of those I photograph by creating work that expresses solidarity in a joined struggle for change and empowerment. “Empathy … is seen to involve more than simply a process of imaginative reconstruction because of the emotional charge it carries. Indeed, it is the radically ‘unsettling’ affective experience of empathy that is conceived as potentially generative of both personal and social change. Through establishing empathetic identification with those who are differently positioned to ourselves, the possibility exists that (privileged) spectators will experience a radical transformation in consciousness, which leads them not only to respond to the experience of ‘the other’ with greater understanding and compassion, but also to recognise their own complicity within … hierarchies of power.“ (Pedwell, 2012) Change is necessary, and consequently a transformative interaction of all members of society is needed. Let’s open the floor for a propaganda of empathy. Timm Sonnenschein Cassidy, L.M., O’Connell, M.H. and Johnson, E.A. (eds.) (2012) She who imagines: Feminist theological aesthetics. United States: Michael Glazier. Greenway, B. (2017), 'How the Years Condemn song introduction’, speech, Napalm Death concert HMV Institute, Birmingham, 9 May. Nachtwey, J. (2007) My wish: Let my photographs bear witness. Available at: https://www.ted.com/talks/james_nachtwey_s_searing_pictures_of_war?language=en (Accessed: 5 May 2016). Pedwell, C. (2012). Affective (self-) transformations: Empathy, neoliberalism and international development. Feminist Theory, 13(2), pp.163-179. Rosler, M. (2006) Decoys and disruptions: Selected writings, 1975-2001. United States: The MIT Press. Modern China For many living in the West, the greatest impression of Modern China is it’s booming economy. It is undoubtedly true that China is growing and changing. Since 2005 Timm Sonnenschein has used his camera to look for these signs of growth and change.
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