Sanyam Bajaj, an alumnus of the Hertie School’s Master of Public Policy program, recently hosted a photo exhibit on climate change, but he did more than display striking images and montages. Bajaj used the exhibition to conduct research and spark change. His interdisciplinary journey from photographer to policy advocate highlights his deep commitment to leveraging creative expression for societal impact and reflects on emerging trends in politics.
The social role of emotion and narrative
These days, facts seem to matter less and less in public deliberation, and aesthetics are an increasingly powerful language. It is often argued that some societal actors—particularly those on the political poles—use framing and narrative as a discursive weapon. Emotional appeal can even be considered a taboo, especially amongst policymakers, who tend to value ideals of data-driven reasoning and so-called objectivity (logos) over emotional appeal (pathos). However, the limits of logos can be seen particularly in issues like climate change, where scientific evidence does not significantly shift societal behavior. For example, despite the Intergovernmental Panel on Climate Change (IPCC)’s repeated warnings, global emissions continue to rise. Clearly, scientific reports alone fail to drive significant policy or behavioral change—a communication issue that progressive camps must face.
Some argue that reality is being replaced by images and representations which seem more real or important than actual life (e.g., Guy Debord’s 1967 Society of the Spectacle; Umberto Eco’s 1973 Faith in Fakes; and Jean Baudrillard’s 1981 Simulacra and Simulation). After all, sensory perception—including imagery—plays a defining role in human cognition and thereby designates visual culture as a key arena for mediating thought. In this way, it is clear why governments, businesses, and individuals—any entities interested in power—want to gain influence and control over the production of imagery. To better understand how visual culture is intimately connected with social dynamics and transformation of policies in the climate space, I highlight Sanyam Bajaj’s recent photo exhibition: “Visual Dialogue on Climate Narratives”.
“Visual Dialogue on Climate Narratives”
A quote from Bajaj’s concept note: “Facts and data are insufficient to drive behavioral change. Emotional engagement, which the arts can evoke, is critical in catalyzing collective action.” The photo exhibit took place in Berlin’s Kreuzberg district, and I went to the showing—hosted within an old building repurposed as a creative co-working space—on a chilly November day. After climbing the industrial staircase, unsure I was in the right place, Bajaj greeted me at the door with his big smile and a glass of wine. The gallery was warm, and Bajaj eagerly said hello to everyone, trying to facilitate connections amongst the visitors. He is clearly passionate about people, art, and the climate. Soon enough, however, I was pulled away from the bustle and drawn in by the grip of his photography.
“Visual Dialogue on Climate Narratives” documents climate change through images taken in countries around the world, and its powerful visuals seek to transform photography into activism by sparking feelings of frustration, fear, and ultimately hope.
For instance, one photograph depicts a hand, reaching past fire, toward a clock which ticks on. Another features a smog-covered Delhi, where Bajaj layers images to capture the intersection of pollution, culture, and human impact. Bajaj has a unique way of stacking several images over one another in hive-like collages, and his understanding of symbolic composition excels. Each photo tells a story, grounded in a strong sense of place, but is ultimately fragmented by the various stimuli which vie for your attention. Bajaj’s aesthetic is dreamlike; however, it is constantly disrupted by the encroaching reality: smog, fire, and storms. His photography contains a deep sense of mystery to it, which necessitates engagement.
As I walked the gallery, I noticed little cards along the way labeled ‘Curiosity Windows,’ each containing a related fast-fact about climate change. About halfway through the exhibit, a ‘Self-Reflection Mirror’ hung off the brick wall, and around the frame were taped several news clippings about the climate crisis. In the middle was my reflection, staring back at me. The message was clear.
After the exhibit ended, Bajaj offered the visitors a detailed questionnaire regarding our experiences and respective levels of climate change awareness. In this way, Bajaj uses the exhibition space to gather qualitative data for his ongoing research on the intersection of climate narratives and public engagement—an innovative method I had not seen before. It felt not only helpful to participate, but also, the survey deepened my artistic engagement with the photographs and acted as an exercise of creative reflection, making me revisit each piece.
An afternoon in Schöneberg
Considering my interest in aesthetic theories, I was eager to sit down with Bajaj for an interview, but the enormity of concepts seen in critical theory often becomes quite diffuse and out of reach. That is why I think it’s best to connect with people who do practical work—be it photography, film, or any art—of merging art and governance. Talking with an up-and-coming photographer was a great opportunity to do just that, and soon enough, Bajaj and I met for coffee.
Originally from India, Bajaj began his photography career in 2012 as a way to earn money while pursuing a Bachelor’s in Business Economics. He says that, although starting as a “side hustle,” photography was a creative outlet and later a bridge into the political world. In 2017, when former Swiss President Doris Leuthard visited India, Bajaj worked as her official photographer, and after completing a Master’s in Professional Photography at the Istituto Europeo di Design Madrid, he sought to deepen his understanding of governance and societal change through the Hertie School MPP program, where he graduated in June of 2024.
At Hertie, Bajaj grappled with a question that would define his career: How could he integrate his artistic practice with policy studies? Professors were hesitant when he proposed using photos in policy memos, but he persisted, envisioning art as a tool to enhance research and advocacy. Bajaj talked with me about his experiments regarding ‘photo elicitation,’ the idea that people interpret the same image differently, thus revealing different emotional and cognitive dimensions. This concept was employed in Bajaj’s surveying of gallery visitors. Additionally, Bajaj’s passion for engaging people in “the aesthetics of political communication” was something we bonded over, as he hopes to encourage policy students to use creative methods that can “fulfill the emotional connect with people and send out the message.”
Bajaj’s approach clearly wrangles with the ongoing discussions regarding the role of artists in political spaces, and he reminded me that, while increasingly relevant, these ideas are nothing new. According to Bajaj, some pioneers of such concepts are figures like France’s King Charles IX, dating back to the 16th century, who initiated a music academy aimed at structuring social order. In addition, Sir Francis Bacon and Aristotle, for Bajaj, were critical in the development “of unification of knowledge through reason and empirical evidence.” In other words, Bajaj sees the arts not merely as an aesthetic pursuit but also as a vital tool for carrying out empirical endeavours, such as political science.
Through these artistic choices, Sanyam pursues the answer to a pressing question: “If scientific data is widely available, why are we still not able to change things?” He argues that “facts along with something visual or any form of art” are required to instigate change. People need “something that [they] can touch upon—that people can remember—because facts are already there. Scientists have already said that we are too late or that these are the things we need to do.” He believes “you are so busy in your life with what you are doing, you continue living, and then it hits you. The day [climate change] hits you, it feels like: ‘Oh shit, we are too late.’”
For Bajaj, art is one way to make it hit: “I’m getting the reality to the personal space; what we kind of avoid during the day.” Having lived in New Delhi, Bajaj explains how in October and November, especially during the Diwali festival, pollution is at its worst, and he is deeply concerned: “Are we getting used to that?” To encourage self-reflection and spark a sense of agency, Bajaj included a mirror in his exhibit, in between the photography. The idea is to confront guests with the reality of climate change and create space for them to envision where they fit within the broader picture—to explore how each individual can make an impact. This way, Bajaj uses the exhibition space as an opportunity for change, personal accountability, and hope. The exhibition also hosted policy dialogues, connecting change-makers across sectors, including artists. Rather than a passive forum for spectation, Bajaj’s exhibition was designed to be a democratic forum.
Instigating change
Although Bajaj said he was afraid that “no one would attend,” his exhibit ultimately drew a crowd of 140 people, proving the resonance of his work. He told me the exhibit was a learning experience: “I wanted to make mistakes. I wanted to learn what works and what doesn’t.” Bajaj envisions scaling his exhibition model to broader audiences and further incorporating arts-based approaches into his policy research.
Finally, I asked him how the Hertie School could implement some of these ideas into their curriculum, and he suggested we “add another layer to what’s already existing” by hosting art-policy collaborations and introducing modules on aesthetic political communications as well as visual ethnography. For Bajaj, art is not merely a medium of expression but a catalyst for change. His work challenges policymakers to think beyond data and embrace the emotional power of art to inspire collective action. Ultimately, he wants students and policymakers to “keep pushing,” which involves getting creative. Therefore, we—artists and audiences alike—must dig deep, examine symbolism more closely, and embrace subjectivity.
To see more of Bajaj’s work, visit his website http://www.drishyakalaklima.com
Andrew Hastings is a storyteller from Massachusetts (USA), part of the Hertie School’s 2026 Master of International Affairs cohort. His education background includes a B.A. in Theatre and English from Dean College (Massachusetts) as well as a semester abroad in Bard College Berlin’s Arts & Society program. Currently, his focus is on Human Rights, and he has extensive experience in the fields of research, creative writing, photography, filmmaking, and acting. For more information, visit his website www.andrewhastings.weebly.com