In films featuring mermaids, bioluminescent organisms and decommissioned military and energy sites, the artist’s work swirls with posthuman mythologies
As Istanbul’s cultural establishments continue to battle reputational issues, Kaya Genç advocates for greater accountability amid the country’s growing illiberalism
From 2000: The artist had a Tate St Ives residency in 1998/99 when she worked from a temporary studio improvised in the lifeguard’s hut. Here, she recounts her experience
From 2012: Resonating throughout the exhibition is a belief that ideas ask for a physical form and that we always think with the help of the material world
