I do not think making art alone makes it any better than making it with a team of people.

I myself have already spent a third of my life in Germany, first in Cologne and then, since 1994, in Berlin.

I don't think you need to be so result-oriented when you're trying to define the success of an art work. I think we can allow some unpredictability.

My goal is to formulate a new color theory based on the full spectrum of visible light.

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.

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.

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.

Every city is always changing, on its own trajectory.

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.

I think an artist has the potential to investigate both form and content within one activity, to show that there can be coherence between form and values in our society, as in thinking about a city and building one.

I believe that access to electricity and light can radically improve people‚ lives.

In the past Berlin was much more radical and extreme and now it's becoming much more of a conventional European city.

Having an experience is taking part in the world. Taking part in the world is really about sharing responsibility.

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.

I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

I was interested in how we engage the world. How do we use our skin as our eyes? If you read a cityscape or a landscape with just your mind, and not your body, it becomes like a picture or representation, not something you really engage with.

The viewer brings something individual to the experience of any artwork.