I follow these intimate connections of strangers and, surprise!, end up finding even myself in the work at some point.

People get upset when Baghdad, the "Cradle of Civilization" is burning, or when the Buddhas in Afghanistan are falling. These are real concerns.

I've made a poster at home. You know the iconic image of Che Guevara, the black and red graphic of his face? I think it's the perfect graphic, the best graphic ever made. I cut a Concorde out and put it over his head so it's Che looking up and the Concorde going by. Both are dead, maybe obsolete.

"Naming Tokyo" kicked off at the Palais de Tokyo in Paris in June, and it's going to travel to various art institutions for years to come. Every time it is shown, I'm developing the research and involving more and more people in it. The final conclusion of the work would eventually be to put up street signs in Tokyo with my names on them.

I'm completely uninterested in the origins of Stonehenge. I don't care about the real story behind it or whether it should be saved or not. What I'm interested in is this: in the Victorian era, you could go there as an early cultural tourist and you were given a chisel to chip off a bit of the stones and take it with you. That's what you did in Victorian times.

I find myself doing fieldwork physically, in the tradition of anthropology. I literally go to the opposite end of the world, to the most exotic faraway places I possibly can, only to find the closest things to me when I get there.

I try to make that tension almost stupidly overt in my projects, almost ridiculously so. I keep coming back to the same obvious points again and again.