Miart Gallery, already known as one of the top 20 galleries in the world and named “Best Gallery in the U.K.” by the World Art Awards, didn’t just open a space in Istanbul. It brought with it Lorenzo Quinn and his largest solo exhibition to date.
As Türkiye’s cultural landscape continues to evolve, it is always exciting to witness new spaces that bring fresh energy to the art world. One such space is Miart Gallery, making its grand entrance into Istanbul with a powerful statement: the largest solo exhibition of renowned sculptor Lorenzo Quinn currently on view anywhere in the world.
I spoke with Miart Gallery’s founder, Irem Deniz, whose vision for the gallery is clearly driven more by purpose than pressure. For her, bringing Quinn to Istanbul was not just a curatorial choice; it was deeply personal.
“This is Lorenzo’s biggest solo exhibition in the world right now,” she told me. “It’s the result of nearly two and a half years of work. For me, it was the most meaningful way to arrive in Istanbul with the right artist.”
Deniz has long dreamt of creating something meaningful for the art scene in Türkiye, and Istanbul was always central to that dream.
“Many people asked me, ‘Why Türkiye?’ But I believe in this city. It hasn’t yet found its rightful place in the art world, but the potential here is enormous. Every corner of Istanbul is filled with history, soul and stories, it’s already a work of art.”
Because his work touches people not just visually, but philosophically too. “In my 20-year career in international art consultancy, I’ve rarely seen an artist who connects with such a wide range of cultures,” Deniz said. “And the concept of balance in his work isn’t just thematic. Many of his sculptures stand without a base, relying solely on their center of gravity. That takes mathematical genius.”
Sure, they could’ve opened with another big-name Banksy, perhaps. But Istanbul actually ranks as the second city in the world that follows Quinn the most closely. That stat alone told her this collaboration was meant to be.
When I asked her how it all began, she smiled. “We met thanks to Lorenzo’s son. He had discovered my gallery and suggested a collaboration. When I spoke to Lorenzo, I told him that even if we do something small in London, my dream is to do a big project in Istanbul. And he believed in that dream.”
The result? A show of 80 works, including two megasculptures, filling Miart’s brand-new space in Istanbul. But Deniz’s not stopping there. “Next, we’ll bring in artists whose works have never been shown in Türkiye before. There will definitely be a Banksy solo show at Miart Istanbul. That’s a promise.” Miart’s curatorial process, as Deniz described, is more like a research lab than a gallery backroom. Every artist, every show is vetted by a seven-person committee. “The head of our committee is actually a Sotheby’s expert in modern Far Eastern art,” she added. “So yes, we are artist-first. But we also deeply understand collectors. I’m a collector myself.”
She emphasized how vital it is for artworks to be treated as assets in Türkiye, something still lacking compared to the international scene. “Abroad, collectors can use artworks as collateral at a bank. In Türkiye, we’re not there yet. But we’re pushing for that. It’s up to galleries to lead the way.”
Quinn, calm and warm, told me he’s been dreaming of this show in Istanbul for a long time. “Istanbul is a city ready for public art,” he said. “There are so many places where I’d love to place a sculpture. The square in front of Atatürk Cultural Center, for example, or the park by Çırağan Palace, it’s like they were designed for monumental pieces.”
We talked about his now-iconic use of hands. “Hands are the most powerful tools for communication,” he said. “We shake hands when we meet, we’re welcomed into the world with two hands. They can build, but they can also destroy. I believe in the hands that build.”
One of his most famous public pieces, "Building Bridges," debuted in Venice and now travels through Italy in a smaller version. He and Deniz want to bring it to Türkiye. “That sculpture creates a certain energy wherever it goes,” he said. “People walk under it and feel something – even if just for a moment. That’s the power of art, especially public art. It doesn’t just belong to collectors, it belongs to everyone. Taxi drivers, street sweepers, kids.”
He shared one last story that stuck with me. During the pandemic, he wanted to donate blood but was turned away because of a medication he was on. “I saw the bag of blood that would be thrown away and thought, I’m an artist – I’ll turn this into a piece. I created an artwork using that blood and donated the proceeds to Doctors Without Borders. Art isn’t just about beauty. It’s about solidarity, awareness and contribution to humanity.”
That, in a way, sums up both Quinn and Miart Gallery: sincere, ambitious and deeply rooted in the belief that art is meant to build something. A connection. A spark. Maybe even a bridge.
For those who want to explore the works of Quinn, two newly opened galleries, one at Four Seasons Residences Etiler and the other at Four Seasons Hotel Bosporus, bring together the artist’s creations across different disciplines simultaneously.
