Ira Grünberger

documentation of site–specific installation installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, graduation show kabk 2023 when a house transforms, so does our memory. can we re-inhabit a space, through imagining? this material-based research into the relation of matter and space results in a site-specific installation. memory surfaces through photographic processes and their materiality slowly dissolves. a blueprint is transformed into a physical being and takes its own shape. in this sense, image, house and memory are built spaces, all carrying the ability to imprint on one another. whoever enters this territory is faced with the potential of materials functioning as vessels to resolve embodied trauma.

installation view, presentation at Residenzia Gornji Grad 2022 The process of collecting clay while hiking the mountains of Gornji Grad led to the crea- tion of several clay tiles. The shapes and co- lors of these tiles are based on the architectu- ral features that have physically imprinted on the walls of the village‘s church. Therefore the clay served as a Medium through which remnants materialize as Me- mory, reconstructing disappeared parts of the church‘s empire. The bones and ashes I took from the firepla- ces of the inhabitants have been rubbed into the clay, as a symbol of the constant transfor- mation the landscape and its community un- dergo. This process was a constant reminder of ones own bodies fragility and impermanence.

installation view, presentation at Residenzia Gornji Grad 2022 The process of collecting clay while hiking the mountains of Gornji Grad led to the crea- tion of several clay tiles. The shapes and co- lors of these tiles are based on the architectu- ral features that have physically imprinted on the walls of the village‘s church. Therefore the clay served as a Medium through which remnants materialize as Me- mory, reconstructing disappeared parts of the church‘s empire. The bones and ashes I took from the firepla- ces of the inhabitants have been rubbed into the clay, as a symbol of the constant transfor- mation the landscape and its community un- dergo. This process was a constant reminder of ones own bodies fragility and impermanence.

installation view, presentation at Residenzia Gornji Grad 2022 The process of collecting clay while hiking the mountains of Gornji Grad led to the crea- tion of several clay tiles. The shapes and co- lors of these tiles are based on the architectu- ral features that have physically imprinted on the walls of the village‘s church. Therefore the clay served as a Medium through which remnants materialize as Me- mory, reconstructing disappeared parts of the church‘s empire. The bones and ashes I took from the firepla- ces of the inhabitants have been rubbed into the clay, as a symbol of the constant transfor- mation the landscape and its community un- dergo. This process was a constant reminder of ones own bodies fragility and impermanence.

installation view, presentation at Residenzia Gornji Grad 2022 The process of collecting clay while hiking the mountains of Gornji Grad led to the crea- tion of several clay tiles. The shapes and co- lors of these tiles are based on the architectu- ral features that have physically imprinted on the walls of the village‘s church. Therefore the clay served as a Medium through which remnants materialize as Me- mory, reconstructing disappeared parts of the church‘s empire. The bones and ashes I took from the firepla- ces of the inhabitants have been rubbed into the clay, as a symbol of the constant transfor- mation the landscape and its community un- dergo. This process was a constant reminder of ones own bodies fragility and impermanence.

Based on the floorplans of my father, steel frames come together with photographic pro- cesses and merge in both visual and spatial constructions. Using photographic and sculptural processes this work is a material based research into how materials remember, and how this memory can be materialized. The materials used for this project are collected from places of Deconstruction. Those materials embody transformation, they are continuous in their becoming – the same as we humans are.

documentation of site–specific installation

A sensitive Conversation is a conversation between the frame and the image, as well as the material and the maker, in order to explore the hierarchical relations between them. By challenging both the frame and the image to break out of their traditional form, the work consists of multiple individually crafted metal and wood frames, photographs and found materials. The same materials used in the creation process become the content of the images. As a result the photographs themselves ser- ve no longer as representation, as well as the frames no longer serve as the framework, creating a playful exchange between them.

A sensitive Conversation is a conversation between the frame and the image, as well as the material and the maker, in order to explo- re the hierarchical relations between them. By challenging both the frame and the image to break out of their traditional form, the work consists of multiple individually crafted metal and wood frames, photographs and found materials. The same materials used in the creation process become the content of the images. As a result the photographs themselves no longer serve as representation, as well as the frames no longer serve as the framework, creating a playful exchange between them.

Based on the floorplans of my father, steel frames come together with photographic pro- cesses and merge in both visual and spatial constructions. Using photographic and sculptural processes this work is a material based research into how materials remember, and how this memory can be materialized. The materials used for this project are collected from places of Deconstruction. Those materials embody transformation, they are continuous in their becoming – the same as we humans are.