In Blumen (Flowers), Enno Poppe, a musician who draws upon cell and tree structure in his work, alternates between chalice and corolla in order to bring to life models of botanical growth. Meanwhile, Liza Lim evokes animal figures, Chinese dragons and pigeons that, in the eyes of Jalal al-Dîn Rûmî, fly in mysterious regions and eat elusive seeds.
Liza Lim uses a mixture of tenderness and rough mesh to weave cultures and sounds. If Spirit Weapons is inspired by a Chinese halberd with three blades, bearing the emblem of a double dragon entwined around an axis, a distant variation on the caduceus of Hermes, The Tailor of Time borrows its title and themes from the Persian poet, theologian and mystic Jalal al-Dîn Rûmî. In the world of this tailor, who constantly renders the world transient, we encounter the flute and the divine breath, the lute that symbolizes the strings, full of desire for the Lover, the knots and folds, but also the tears and faults of time. “Our daily bread is so abundant because the stitching of the garment (of our bodily existence) consists or tearing it to pieces,” wrote Rumi in his Mathnawi collection.
In addition, Enno Poppe brings us his latest creation, Blumen, made up of several miniatures. Following on from soil, salt, wood, gold, cloth and glass, he finds a new material for the single-word title: Blumen, or flowers and their plant life. It sets in motion the logic behind the piece, its algorithm even.