You can go to a psychoanalyst one day and then go the next day and something else will come out. So, yes, there was some preparation. But still, when a person gets hypnotized, you don't really know what the outcome will be.

When I know who is speaking, I see that there is a commitment. I need to know there is some commitment. I need to find an author. "I" can also be polyphonic, fictional, inhabited by a multitude of characters, be right or wrong or at fault or corrupted. But that's more "the self" than "me, me, me." It's problematic. There are times to say "we."

Fear comes from the unknown. Once you know, then, whatever.

With the garden I planted for the Reina Sofia, each plant related to different celebrations along the calendar - Christmas with evergreen trees, Valentine's Day with roses, Halloween with pumpkins. All these symbols are so culturally loaded, but they are organic living entities - just like the fish in the tanks. They grow on their own. The symbolic ecosystem is growing without a narrative anymore. It's a physical and mental landscape.

I put an octopus in aquarium, and it would eat the others. But if you put an octopus in with a school of tiny fish, he might not be able to catch them. That's an archetypal structure: a powerful individual versus the multitude, the crowd. You can relate to that.

I'm not sure that is correct but I love that interpretation - that we artists never go out of self-portrait.

I had the chance to play with a ghost of the museum. The function and the institution are gone - it's closed - but there is still the building. I was looking for something between an experiment and an extended ritual. I asked 15 actors to be in this museum and take the position of the museum's personnel. I put this small group under certain conditions and influences, interpreted by another group of actors or by real professional performers, like a magician, a psychic, a model, a hypnotist, a singer, a psycho-dramaturge.