The problem of space and memory in contemporary art over Piranesi's Carceri series and places of anxiety

Antoine Picon is the first person to speak of the concept of 'Anxiety Places'. It is also possible to translate Picon's term Anxious Places in Turkish with similar words. Picon's argument; that the places are no longer important and do not have a function in the age we are in, is similar to Marc Auge's Non-place theory. This change in the spaces we live in and the feelings brought about by various concerns also affects the production of artworks. The feature that distinguishes anxiety from other distressing situations is an objectless state of fear, which has been the subject of the creation of many works, especially Carceri, because of the mysterious unknown site that it contains. Piranesi's sixteen-plate Carceri Series; the complexity it hosts is very successful in conveying anxiety to its audiences, such as its maze-like structural characteristics and dark contrast balance. Inspiring many literary works, this place is also a motivator of many productions in visual arts. The most important reason for this is the Carceri's ability to revive primitive impulses. During this review, Carceri's contribution to the production of other Anxiety Places and the communication between Piranesi's metaphysical prison and these places were discussed. In the first section of this study, some concepts were discussed to create an infrastructure for incoming subjects later. In our daily life, what and how we position the spaces in our brain, the place perceptions of the great thinkers, the Anxiety places and the theory of Non-place are examined. In the second section, anecdotes about the life of Carceri's architect Piranesi and the formal and sensory features of Carceri are mentioned. The adventure that began with Carcere Oscura, the pioneer of the Carceri d'Invenzione, which was discussed during the research, and suggestions on what kind of anxiety in at Carceri is. Examples of the works in the third section are various works produced based on Carceri. The artist portfolio is handled on a scale from Gustave Dore to today's artists. The productions of the artists have been discussed in the context of Anxiety Place and their relationship with Carceri. In the section, which sought answers to the question of why Carceri may have been inspired by the productions of these artists, the artists were evaluated on the provisions of their periods and their practices. In the fourth section, there are three works from the cinema discipline that overlaps with Carceri. It is examined what elements that drive the people who produce these works to use Carceri's visuality and how philosophical discussions lie in the scripts of the films and how they establish an identification with the engraving series. Another topic in the same section is the reasons for Carceri's current effect. For individuals living in the world of the moment, the question of what Carceri means and why this series inspires so much production is the latest topic of research. This research, which began by starting from the Non-place and the concept of Anxiety places were considered as a whole, it looks for the effect of a work produced in the 18th century and the reasons for its increasing popularity over the concept of Anxiety places. The contribution of anxiety, which is one of our most basic feelings, to other artists' similar place productions, through a single work example, is the centre of the thesis.