Ive walked a lot in the mountains in Iceland. And as you come to a new valley, as you come to a new landscape, you have a certain view. If you stand still, the landscape doesnt necessarily tell you how big it is. It doesnt really tell you what youre looking at. The moment you start to move the mountain starts to move.

By bringing Little Sun to Tate Modern and the London Olympics, I hope to realise an art project for those who typically have no access to global events of this scale.

It would be wrong to say that the city of Berlin is not regulated. What I think is more interesting is to what extent a city creates a sort of safe haven for its users, so that people feel confident that the city works on their behalf.

When museums are left with so little money that their future is in the hands of private donors, then they are unable to develop their own signatures by collecting themselves. On the other hand, though, I think we should also celebrate the fact that there is a lot of art that lives outside of, or on the outskirts of, the art market - and it is doing quite well.

There are 1.3 billion people today who have no access to electricity. Many of them rely on kerosene lanterns for light, but kerosene is both expensive and hazardous to the health.

I see the artist as a participant, a co-producer of reality. I do not see the artist as a person who sits at a distance and evaluates.

In many rural areas of the world, local communities use kerosene for indoor lighting, which leads to asthma, poor quality of light, and the desperate cycle of oil-based products that continually degrade the environment.