ALL AT THE SAME TIME ALL was originally developed as a sound and room installation for Marta Herford in 2026. For UNRUHE, only one sculptural element from the installation is presented: the suspended words “الله الله” (“Allah, Allah”). The work emerged from Noori’s engagement with the Azerbaijani poet and philosopher Imadaddin Nasimi (c. 1369–1418), an important figure associated with Sufism and Hurufism. In his poetry, Nasimi articulates an understanding of the divine not as something separate from the world, but as present within the human being, nature, and ultimately everything that exists. In the original installation, Noori translated Nasimi’s poem من گنج لامکان (I am a treasure from a placeless realm) into a musical composition. Sung in Farsi by the classical Iranian vocalist Samin Ghorbani and accompanied by electronic orchestration, cello by Guido Kohn, and percussion by Andrea Belfi, the work unfolded through repetition and layering rather than linear progression. The recurring phrase “I am the Truth” (أنا الحق) invoked Nasimi’s radical identification of the human and the divine. The sculpture shown here refers to the Sufi practice of dhikr, in which the divine name is repeated as a way of making its presence perceptible. Removed from the sound and spatial environment of the original installation, “Allah, Allah” remains as a condensed expression of its central proposition: a conception of divinity that cannot be contained by religious, material, or hierarchical boundaries. In ALL AT THE SAME TIME ALL, distinctions between sacred and profane, God and human, meditation and aggression, temple and waiting room, even God and plastic, are brought into proximity and allowed to dissolve. What remains is the proposition that everything that exists may be understood as a bearer of the divine.