An artist has to look at the future, to see what we can do better.

Once you live in New York, you can't live anywhere else. Living in Paris is like going in slow motion. It's so bourgeois. I get so bored.

I had such an intense relationship to every person. I still see people on the street and we lock eyes, and say "Oh my god!" and we just kiss and stay like that and sometimes cry.

I hate studio. For me, studio is a trap to overproduce and repeat yourself. It is a habit that leads to art pollution.

Talking about performance is such a strange thing because it's so immaterial. We are talking about soft matter. We are talking about something that is invisible. You can't see it. You can't touch it. You just can feel it.

I am obsessive always, even as a child. On one side is this strict orthodox religion, on the other is communism, and I am this little girl pulled between the two. It makes me who I am. It turns me into the kind of person that Freud would have a field day with, for sure.

There are two kinds of loss of hope, one is the feeling when your pulse slows down and you are going to die, and there's nothing else left. The other loss of hope is when you're living in a country which becomes insecure, and you don't know what the future is. That's existential.