For many listeners, the Highland bagpipe remains inseparable from its cultural roots and traditions. Yet for the Breton musician Erwan Keravec, the instrument also represents a gateway to unexplored musical territories. A piper, composer and pioneering improviser, Keravec has devoted his career to expanding the horizons of the bagpipe, revealing its remarkable potential far beyond its customary setting. This desire to liberate the instrument from its traditional role finds a striking resonance in the musical world of Philip Glass. In 1969, the American composer wrote a series of groundbreaking works — Two Pages, Music in Fif ths, Music in Contrary Motion and Music in Similar Motion — that would become landmarks of musical minimalism. Built on the repetition of simple figures gradually evolving into increasingly complex structures, these pieces laid the foundations for a new musical language and foreshadowed the artistic path that would lead, a few years later, to Einstein on the Beach. More than half a century after their creation, these early works reveal an unexpected affinity with the sonic world of the bagpipe. Their modal character, their implicit drones, their sustained textures and their cyclical structures seem almost naturally suited to this ancient instrument. Written in the wake of Glass's travels in North Africa and India, they bear the imprint of musical traditions in which drones, modality and cyclical forms occupy a central place — elements that also lie at the heart of the bagpipe's sonic identity. This exploration of repetition, gradual transformation and cyclical processes finds a natural extension in the artistic intervention of Dominic Kießling. His monumental and evolving work, The Life Cycle of a Plastic Tube, stages an endless loop of growth and decline. Under the influence of thermal forces, a gigantic plastic membrane slowly inflates and expands towards a precarious climax, until the balance of physical forces collapses and the creature appears to exhale its final breath, leaving behind an empty shell, ready to begin the same process anew. Arranged as a spatial composition bringing together several of these organic forms, the installation becomes the visual counterpart to Erwan Keravec's music. Together, sound, movement and matter create an immersive experience in which breath, repetition and transformation enter into constant dialogue and continually reinvent one another.