In the city since September 15, German national Lisa Premke has been walking around the lanes, bylanes, markets and cafes, taking in the sights and sounds, collecting stories for her material. What has emerged from her observations and interaction with the locals is a classic example of how familiar objects can be viewed differently, when seen through someone else’s eyes.
Take for example the brooms, which are bunched together on a wall at Gallery at the Mills (Raja Bahadur City Centre, where a textile mill was in operation not very long ago). The brooms, the sketches of rolled up bathroom mats, grass mats etc, on industrial drawings sheets used by the mill staff in the past, a wheel made of welded steel, another curtain-like installation supported by fans, are all a part of ‘The Touch of Voice of Every Thing — Acoustic Installation and Moving Sculptures’.
Premke has been invited by TIFA Working Studios for a month-long Artist-in-Residence programme. The exhibition is a part of her residency and will be on display at Gallery, till November 10.
MAKING CONNECTION
Each object used in the installation has had a connection with the architect-artist. In Pune, Premke has been waking up to the sound of a broom being used. “It’s my wake-up alarm,” she says with a laugh, adding, “There are so many varieties of broom. During my walks, I have seen people carrying them on motorbikes. The sound is very calming.”
Interestingly, she has also made the locals re-establish their association with the broom.
“I have been meeting many people on the streets and here at the Gallery. They are curious about my work. Their first impression is that of ‘not understanding.’ When I explain what I am trying to achieve, they start talking, making connection. For instance, I was told there is holiness associated with broom — never lift a broom with your foot, for instance. There are special brooms for special occassions. Once everything falls in perspective, they remember all these facts which might be special about a broom. They remember why they care for it.”
PUBLIC SPACES AND INTIMACY
Premke travels often to various countries to present her work, or to develop something new. But wherever she is, there is one general research, that she always carries out. “I try to see how people relate to public space. How they use it, how they claim it and make it their own and which object they use to make it their own, and which objects they use everyday but have forgotten its beauty,” she adds.
When asked how does her background in architecture help, Premke points out, “I think it has blended in spatial interest. But it’s way more liberating now. I don’t have to confine myself to the laws.” Moving on to intimacy, the artist reflects that it doesn’t confine only to man-woman relationship, but also the objects that we share. Sitting on a wooden bench, Premke moves her fingers over it, repeatedly, gently, caressingly. “Someone else will come and sit on this bench and touch it, maybe differently. It’s a repository of different touches. Each touch says something,” she explains.
SOUND OF CITIES
Premke was in India before to be a part of the Kochi Biennale festival. And, like it’s for all the visitors, the artist found the country lively. Berlin, where she stays now, is in general far more quiet. “We are quiet because we are wary of disturbing someone. If it’s 9 pm, you will lift your suitcase instead of dragging it on wheels, because people might be asleep. We are sensitive to sounds. It’s because our seasons are stronger. That sounds funny. But when it’s snowing, there is almost nobody on streets. Every sound amplifies. So if you drag your suitcase, later everybody will remark, ‘So you are the person who was making that noise?’ Here, everyone is talking, bustling, hanging out,” she informs.
After the exhibition concludes in the city, the artist will take back the installation to Berlin, where it will be displayed for public viewing. When asked if she would be making any changes to the installation, Premke replies in negative. “I think even if the objects are local, the sounds may be universal. We all know about the sweeping. For me, there is a scientific, social text to it. The sound makes it familiar. I think the sound addresses the body first, not the brain. Your body knows it and you feel safe,” she says.
ART AND HISTORY
When asked if it was necessary for her to work in a place with history and does exhibiting in a structure which has more history add more value, Premke replies, “It makes a difference for the viewer. The visitors told me about the history of the mill, somebody knows somebody who worked in the mill. I think it’s about collective heritage that has now got a new face. You share your memories with others. In Germany, a decade ago, I organised a residency in a coal mine. We were allowed to use the housing apartments of mine workers for our studios. It so happens that for people, who see a place transformed before they leave, or if the place is demolished, it’s a good feeling. This feeling of transformation was important.”
Talking about the art scene in Berlin, Premke says, if you have an opening of your show, you know that not everyone will come in, because there are three other openings taking place simultaneously. “There is a value for arts. Berlin knows that art involves inviting other people. When there is art, there’s lot of creativity and that helps in business. Theatre, museums, music, sciences all give you input. Collaborating with different artists makes you more richer. Idea and imagination is what makes us human,” she concludes on that thoughtful note.
ST READER SERVICE
Lisa Premke will be talking about her art installation at Gallery, The Mills, Raja Bahadur City Centre on Friday, November 8, 8 pm onwards. The exhibition is on till November 10
