How can politics encourage creativity and innovation?
By making more money available to artists. And here it is important who receives the money. In Austria there is already quite a lot of funding for artists; but it tends to go to people who do not actually need it, such as artists that are already successful or thriving galleries.

What do you like best about Vienna?
When you come from Central or Eastern Europe, Vienna is the first destination in the west. Many people come to Vienna from this region, but also from other parts of the world. This makes the cuisine all the more international – the Naschmarkt is a great example of this. A lot happens in Vienna in terms of art too. Since the opening of the MuseumsQuartier in 2001, the scene has just exploded. But we have seen many developments in other areas of the creative industries too. There are an increasing number of interesting festivals, such as the Vienna International Human Rights Film Festival and other film festivals for example.

What should the world know about your work?
I believe that art should be understandable and not remote from everyday life. My work is closely related to everyday life. In this context the borders between artistic and non-artistic practices are not always distinct. I often work together with street artists who are very close to being artists, but still are not artists. I am interested in the transition or passage between what is art and what is not. It is important for me that the audience sees my work unambiguously, because it is often not clear whether it is art or everyday life. Recurring sources of inspiration include experiences and stories about life. The headless accordeon player in Paris or the tiger behind glass in a restaurant in Sofia are good examples here. These works are often created by chance or are reconstructions of something I have seen or experienced.