I think structurally, all art is somehow close to shame. 
Shame is relevant structurally for everything that has to do with doing something in the studio
in a private place, and then showing it to others
and this public will judge it, according to certain conventions.
I’ve made woodcuts
since I was a student in the nineties.
It was a medium that was very devalued by male gestural painters.
That was interesting to me to use this medium in that political way. 
The woodcuts are made from plywood
apart from one woodcut that is made from a dismantled piano. 
Several men have destroyed pianos, like Joseph Beuys, Nam June Paik, and it’s always this final gesture
putting an end to bourgeois culture.
This piano is an elementary school piano, taken apart and then printed
and these are like abbreviations of pianos.
They are installed so that the keyhole is on the level of my eyes
so of course they speak about looking. 
This is called 'Kabul Portfolio' because I made it for this part of Documenta 2012 
that was in Kabul in Afghanistan
and it’s like an index for subjects that are relevant to me
or for motives that are relevant for my work.
There is a veiled figure that begs, that’s after a sculpture by Ernst Barlach. 
So it speaks about poverty and shame in one image.
I’m interested in the relationship of the vow of poverty and Franciscan spirituality, and seeing poverty as
a positive thing. 
This is the second work I made with nuns 
so it’s a film about a community of nuns. 
This community is called the Little Sisters of Jesus
and I met them while I was on a residency in Rome.
They work on an amusement park, on a funfair by the beach. They live a fascinating life.
They are a contemplative order, but have part-time jobs or full-time jobs to earn their living
and they love to live nomadic lifestyles, that’s why they live with funfair workers traditionally.
So the work is just played in a tent-like structure
that’s made of heavy cotton fabric, that is used to make work uniforms, normally.
And it’s just to create some darkness for the projection
and to allow the projection and the graphic work to be in one space.
I think it’s important to create some heaviness in the space
that’s why I use this fabric to cover the walls, or that’s why I paint walls brown.
It’s really to give the space some physicality or weight
so that people really sit down and rest in the space.
