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Knowledge also that you run a big workshop in germany with a0 or 50 staff doing the artwork with you, which clearly requires a lot of money. yeah. you make money from your art, don t you? yes, of course. and how do you live with that, given your feelings about the capitalocene period we re living in? absolutely. it s saying like, how much is good enough, right? and i think so if you don t put a limit of how much you earn, then you start to earn something that you don t need. and i think so, the majority and this means, this is what i m trying to do with the exhibitions also this means in the first place when you enter the serpentine is pierre bollo, the spider diviner. and he s selling his own divination. this means when i went to cameroon. this is the indigenous cameroonian spider. ..diviner. absolutely. and what he s doing when i went there, the first thing is like i was feeling a little bit, 0h, should i do it again? kind of a national geographic portrait, an artist which ....
The world, have inhabited it much longer than us, no? and to that extent also, it s thinking a little bit about not everybody suffers the phobias of the, sometimes, western world. and that was one of the interests that also we start to collaborate in one of the first rooms of the exhibition is dedicated to pierre bollo, a spider divinerfrom cameroon, who had this tradition, a militant tradition, to treat the spiders as a source of wisdom, as an oracle. and when the village have some questions, there is a set of cards which are leaves which are carried and then they ask the spider, and the spider will come up, shuffle the cards, and that will be interpreted. and this is kind of a. you know, for india, the cows are holies. and this means there are very different ways of how the world somehow. yeah, there aren t many societies where spiders are holy or sacred, or regarded as oracles. but i know you ve brought your latest exhibition to london, to the serpentine gallery, and i know that you ....