Quotes of All Topics . Occasions . Authors
The best art is on the street.
I work more with my stomach than my brain.
My ideas are all the same but look different.
Sooner or later, all magazines end up in the toilet.
It's even more of a torture not to work than to work.
I don't design. I don't paint. I absolutely never touch my works.
Damien Hirst knows how to drive super-fast cars... I love my bicycle.
Warhol was proof that you can be revolutionary without being militant.
When you place art in the shops, it's a way to make it more accessible.
Stuffed animals are sad and scary; they have humorous and tragic qualities.
You don't wanna see your work, because you might find out that you do not like it.
Never give an artist like me carte blanche: he would think it's simply toilet paper.
Every work of art is a great promise of escape and, therefore, like an open invitation.
What's the point of our life? Everything seems absurd until we die, and then it makes sense.
Rules are simply obstacles to be jumped, like in a horse race: higher and higher every time.
From my point of view, humour and irony include tragedy; they're two sides of the same coin.
There are times when being scandalous or provocative can help bring focus to issues of major concern.
I like to produce work for specific places, and it is difficult to do repeat shows in the same space.
I would never make fun of anyone who is obviously disabled who cannot defend himself, like Donald Trump.
My aim is to be as open and as incomprehensible as possible. There has to be a perfect balance between open and shut.
I would describe myself as a tallish, shy, middle-aged man who equally loves his work and his freedom. And a good liar!
I find Instagram interesting to the extent that new royal families are born and die there, such as The Kardashians of L.A.
I tend not to work with a specific person in mind. Art is a matter of statistics. It's not about individuals. It's about people.
Gianni Agnelli was a sharp mind, and most of his interviews carried meanings between the lines that only now are fully readable.
I do not know exactly why, but it seems to me that images do not belong to anybody but are instead there, at the disposal of all.
I don't like the idea of having a public image. In the end, you have an image of someone, which becomes true whether it is or not.
Laughter is a Trojan horse to enter into direct contact with the unconscious, strike the imagination, and trigger visceral reactions.
Based on my experience, it's considerably difficult to force a donkey into doing something it perceives to be dangerous for whatever reason.
I am fascinated by the idea of employing beautiful images as a device to convey something extremely disturbing in an apparently harmless way.
I was jealous of colleagues when I should have been happy for them. I decided to save my energy. If you think they are great works, you should buy them.
If you are a plumber, there is an objective way to establish whether you put together a great piping system or not. Art is a bit more slippery than that.
Sometimes I see myself as a locked box - very detached from myself and others. But I feel lucky, because I am the owner of my time, and you cannot buy time.
I get up in the morning and get to bed at night, and between, I bring equivalent dedication to everything I do, with a horror of the inaccurate and the half-baked.
If you are searching to figure out what is true and what is not, you will have a sad life. It means you have too much time, and you should do a hobby - like collecting art.
When I was very young, I had to start to working to help my family, while my friends were studying. Since then, I have felt the urgency to escape from every dependency situation.
Contemporary art will never achieve the audience of football, pop music, or television, so I think we should stop comparing its possible area of influence to that of big mass-media events.
Provocations are like a Molotov cocktail. They only work one time out of ten, but when it works, it can also be dangerous for the arm that is throwing it. It's the price that has to be paid.
Art should be able to be innovative without compromising itself. That's why I believe artists should have bigger preoccupations than checking the price tags on their work or becoming curators' darlings.
I think that laughter and death are closely related: comedy is the quintessential human reaction to the fear of death. It's probably linked with the fact that we are the only animals who know we must die.
Made in Catteland is a project that aims to overcome the boundaries of the work of art as we're used to thinking of it: exploring new possibilities of reaching the audience through the creation of new forms of art.
The current climate doesn't represent a threat to the production of art but to the market. I think it's time for artists to get over auction houses, galleries, and high-production-value exhibitions and start using our voices again.
Part of the blame can be put at the artists' door, too - no question. But I see our involvement more as a consequence. When there is too much money at stake, the whole system gets corrupted. Artists can be very vulnerable to these mechanisms.
I was a loser, most concerned with making a living. It took me 30 years to understand... I had to reinvent a system, find a way out, and set some rules that could work for me and a few others. I guess in the end that's what we all are trying to do.
Work was always necessary to survive. Then I decided the goal should be to survive without working. But now I have much more work than I had before. Hunting for freedom, I've found the real prison. but at least it's a prison I've chosen for myself.
Art is about forgetting all these feelings, good and bad, and trying to understand what acts will last longer, which symbols will remain in history. It's a question of perspective: The further you get from the past, the more concrete and plausible it seems.
I won't say I'm not fascinated by the way advertising works. I like the sleekness. But a picture in advertising doesn't last too long. They have to work for 30 seconds. And I'd like to reach at least two minutes. This is my goal: to break that two-minute record.
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
Every morning, we choose between milk or tea or coffee. Usually, I know what I like, but I don't rule out changing my idea sometimes. The editing process is one of the most important parts in everyday life. The same is with my work: mistakes are part of the decision-making process.
I'm not saying the 1970s was a golden age - I don't believe such a thing exists in art . . . It would be like talking about a golden age of science. But it's true that those were slightly more ideological times, and the relevance of artists wasn't established by their CVs but by their work.
Art fairs are a lot like professional proms - you make contacts, have a lot to look at, and in some cases, you make friends forever. I think that for artists, they can be a bit controversial: they stimulate curiosity, but at the same time, you're always trying to not have your work hung on a wall.