{"id":541376,"date":"2026-03-15T05:33:34","date_gmt":"2026-03-15T05:33:34","guid":{"rendered":"https:\/\/www.newsbeep.com\/au\/541376\/"},"modified":"2026-03-15T05:33:34","modified_gmt":"2026-03-15T05:33:34","slug":"the-memory-of-stone-turkish-artist-tansu-kircis-silent-witnesses","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/au\/541376\/","title":{"rendered":"‘The Memory of Stone’: Turkish artist Tansu K\u0131rc\u0131’s silent witnesses"},"content":{"rendered":"

When you step into Balat Fener Houses \u2013 Hali\u00e7 Sanat 1, the first thing that greets you is not the sculptures, but a question: \u201cHow long can a society carry the weight of the stones it has forgotten?\u201d<\/p>\n

This question is not only the conceptual starting point of Tansu K\u0131rc\u0131\u2019s first solo exhibition, “The Memory of Stone,” it also forms the intellectual backbone that shapes the entire spatial structure of the exhibition. As you move through the show, it becomes clear that stone here is not merely a material but a carrier of memory; architecture is not only form, but a foundational element of identity.<\/p>\n

Born in \u0130zmit in 1992, K\u0131rc\u0131 studied in the Sculpture Department of Bodrum Faculty of Fine Arts at Mu\u011fla S\u0131tk\u0131 Ko\u00e7man University between 2015 and 2020. He later completed his master\u2019s degree in the Sculpture Program at Marmara University\u2019s Institute of Fine Arts. His academic formation is strong; however, the defining layer of his artistic production is shaped not only by his education, but also by the fractures of the geography he inhabits.<\/p>\n

Architecture of experience<\/p>\n

His relationship with stone and architecture, as he himself states, traces back to the Aug. 17, 1999 earthquake.<\/a><\/p>\n


\n \"An
\n <\/a>
\n An artwork by Tansu K\u0131rc\u0131 displayed at Balat Fener Houses \u2013 Hali\u00e7 Sanat 1, Istanbul, T\u00fcrkiye. (Photo Courtesy of Selen Ba\u015fman) <\/p>\n

\u201cThe roots of my relationship with architecture and stone go back to the Aug. 17, 1999 earthquake,\u201d he says.<\/p>\n

\u201cAt the time, I was still a child and I cannot say that I perceived what I experienced as a conscious experience. Yet over time, these experiences gradually transformed into different forms of questioning.\u201d<\/p>\n

The earthquake is not represented here as a direct trauma; yet an awareness of the fragility of space is deeply felt at the core of the work. The early shock that unsettled the perceived reliability of structures seems to have led K\u0131rc\u0131 to consider architecture not merely as shelter, but as a field of memory and existence.<\/p>\n

For K\u0131rc\u0131, space is not a physical surface; it is a layered field of memory.<\/p>\n


\n \"Turkish
\n <\/a>
\n Turkish artist Tansu K\u0131rc\u0131 working on one of his artworks. (Photo Courtesy of Selen Ba\u015fman)<\/p>\n

\u201cWhen I began to think together with the historical layers of the geography I live in, I realized that space is not merely a physical area, but a structure woven with memory,\u201d he says.<\/p>\n

This sentence clarifies the conceptual framework of the exhibition. “The Memory of Stone” questions the artificial boundaries drawn between past and present. The traces of cultural heritage stretching from ancient Mesopotamia <\/a>to Byzantium are not directly quoted in K\u0131rc\u0131\u2019s work; rather, they are sensed in the simplified and abstracted forms of architecture.<\/p>\n

Throughout the exhibition, transitional forms such as stairs, doors, and corridors recur. These elements do not belong to any specific building, nor are they fixed to a particular historical reference. Instead, they represent a threshold.<\/p>\n

\u201cArchitectural dynamics such as stairs, doors and corridors, which frequently appear in my works, represent not so much a transition from one place to another, but a passage from one state to another – a sense of threshold,\u201d the artist says.<\/p>\n

The notion of the \u201cthreshold\u201d is crucial here. K\u0131rc\u0131\u2019s sculptures are not completed structures; they are forms in transition. They evoke neither a fully interior nor a fully exterior space. This ambiguity unfolds in parallel with the individual\u2019s process of self-recognition. The artist views the human being not as a completed entity, but as a constantly evolving one.<\/p>\n

This perspective is also reflected in his production process. K\u0131rc\u0131 does not approach stone as a passive material. He often visits marble quarries and selects monolithic blocks that have been discarded as waste. In other words, he works with stones that have already been set aside and overlooked. This choice is not only aesthetic; it is conceptual.<\/p>\n

Dialogue with material, history<\/p>\n

K\u0131rc\u0131 does not approach stone as a passive material. He often visits marble quarries and selects monolithic blocks that have been discarded as waste.<\/p>\n


\n \"A
\n <\/a>
\n A general view of the exhibition “The Memory of Stone.” (Photo Courtesy of Selen Ba\u015fman) <\/p>\n

\u201cI often select the stones I use by visiting marble quarries and choosing among monolithic blocks that have been discarded as waste,\u201d he says. \u201cA form I construct in my mind can sometimes be rejected by a fracture within the stone.\u201d<\/p>\n

This statement reveals that the production process is not one-sided. The form does not dominate the stone; the stone also guides the form. The veins, fractures and points of resistance within the stone determine the final shape. In this way, the sculpture becomes a dialogue between the artist\u2019s intention and the limits set by nature.<\/p>\n

K\u0131rc\u0131\u2019s choice to work with marble is a conscious one within contemporary artistic practice. While many younger artists increasingly turn toward lighter, industrial, or temporary materials, his decision to use a durable material such as stone functions both as a historical reference and as a stance against today\u2019s culture of speed.<\/p>\n

This stance becomes even more visible when it merges with the exhibition\u2019s setting. The restored structure of Balat Fener Houses already carries historical layers within it. The exhibition does not take place inside the sterile environment of a white-cube gallery; instead, it is situated within an architecture that holds traces of the past. K\u0131rc\u0131 explains that he approaches this space not merely as a site for display, but as an active component of the production itself.<\/p>\n

At this point, the exhibition also offers an indirect critique of contemporary urbanization. In T\u00fcrkiye, the rapid pace of construction in recent years – often characterized by structures that lack identity and aesthetic consideration – has gradually eroded the memory of cities. The narrative K\u0131rc\u0131 constructs through stone becomes an attempt to respond to this loss of memory. Yet the exhibition does not do so in a didactic tone. There are no slogans, nor any overtly political emphasis. The critique is embedded in the weight of the material itself. The contrast between the permanence of stone and the transience of contemporary architecture invites the viewer to reflect.<\/p>\n


\n \"One
\n <\/a>
\n One of Tansu K\u0131rc\u0131\u2019s sculptures from “The Memory of Stone.\u201d (Photo Courtesy of Selen Ba\u015fman)<\/p>\n

Another striking element in the exhibition is the deliberate roughness of the surfaces. Breaks, cracks and interruptions are not concealed. This choice can be read both as a way of remaining faithful to the nature of the stone and as a reminder that memory itself is never flawless. Memory, like stone, carries traces; it fractures and reshapes over time.<\/p>\n

For a first solo exhibition, “The Memory of Stone” is remarkably coherent. There is a clear harmony between the conceptual framework and the choice of material. K\u0131rc\u0131\u2019s practice is neither merely a formal search within sculpture nor solely a text-driven conceptual exercise. Instead, it establishes a balanced space between the two.<\/p>\n

What lingers after leaving the exhibition is not a dramatic effect, but a slow and quiet reflection. In a time when cities change rapidly, buildings are demolished and rebuilt and the past is often reduced to a decorative aesthetic reference, the question of what stone truly carries gains new significance.<\/p>\n

Perhaps the true strength of the exhibition lies precisely here: when we look at the stone, we do not see only a form, we begin to reflect on the memory of the geography itself.<\/p>\n

“The Memory of Stone” carries a remarkable sense of coherence and determination. K\u0131rc\u0131\u2019s commitment to both his material and his ideas transforms the exhibition from merely a beginning into a strong artistic stance. For this reason, the exhibition is not a stop to be quickly passed through; it is a space that deserves time and attention.<\/p>\n

Due to the strong interest it has received, the exhibition has been extended and can now be seen until March 22, 2026, at Balat Fener Houses \u2013 Hali\u00e7 Sanat 1. If your path happens to lead you to Balat, I would strongly recommend setting aside time for this exhibition. Some works do not speak immediately, but the longer you look, the more they settle in your mind.<\/p>\n","protected":false},"excerpt":{"rendered":"When you step into Balat Fener Houses \u2013 Hali\u00e7 Sanat 1, the first thing that greets you is…\n","protected":false},"author":2,"featured_media":541377,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[449,458,459,110663,64,63,268198,460,134,15940,268199],"class_list":["post-541376","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arts-and-design","tag-arts","tag-arts-and-design","tag-artsanddesign","tag-artwork","tag-au","tag-australia","tag-balat-fener-houses","tag-design","tag-entertainment","tag-exhibition","tag-tansu-kirci"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/541376","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/comments?post=541376"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/541376\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media\/541377"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media?parent=541376"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/categories?post=541376"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/tags?post=541376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}