When you're 50, the best thing to do is dance the Argentinean tango.

The hardest thing to do is something that is close to nothing.

From the moment you are born, you could die. I think as an artist it is important to meditate on that.

I always sent my mother all these huge books I made. When my mother died, I was cleaning her cupboard, and these big books were only 20 pages long. She edited out, maybe burned, every single photograph where I'm naked.

I hate repetition. Even when I am home and have to buy milk, I go a different way each time to avoid having a habit of anything. Habits are really bad. So to me it is really important to live in what I call the spaces in-between. Bus stations, trains, taxis or waiting rooms in airports are the best places because you are open to destiny, you are open to everything and anything can happen.

From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.

You know, art is very emotional business. But mostly it becomes not emotional, the fabric of commodity. It becomes business. It becomes so many different things. Because we forgot there was emotions involved.