III (1) is a site-relative performance, which combines three artists’ individual practices including dance, task-based movements, performative actions and sound. It was developed over the course of ten days in KAAI Theater/Living while the collective was in residency at Work Space Brussels. Using limited materials, the trio execute movement, sound and visual scores, focusing on the points where their actions conjoin, sync, phase and/or oscillate in unison and simultaneity. Minimal, abstract and without narrative, III (1) leaves the audience space to assess the actions of the trio and interpret or propose her/his own meaning, content and thoughts.

The audience enters a silent and relatively dark space to an in-progress performance. A single light is coming through a row of windows along the back wall. This light shines through a cluster of three standing performers and spans the length of the space, creating a shadow on the far wall. The performers slowly move, one by one, perpetuating a gradual movement of the cluster. As they move towards the far wall, one performer, very slowly, peels away from the cluster and gradually moves to the floor, curling her body into a tight ball. This is repeated by a second performer, leaving the third to reach the far wall. A mirrored walking pattern duo spirals into the center of the space. Simultaneously, the third performer drops a trail of metal chopsticks as she follows a diagonal trajectory through the space. The duo end in close proximity and establish and hold a gaze. There is an abrupt break and they move into a series of movements and pauses, creating various triangles in the space with a white rubber line. One performer leaves the triangle, and then another, leaving a solo mover to create triangles. Using her body inside the rubber line, she creates triangles, which gradually become smaller and smaller, until she can no longer fit inside. The other two performers, standing far apart, establish and maintain a gaze. As the solo fades out, one performer breaks the gaze and walks to the chopsticks.

Picking them up one at a time, he tosses the chopsticks to the far wall. He is joined by another performer, as she begins tossing the chopsticks faster, from a kneeling position. The faster momentum creates a more complex sequence of sounds. She gradually tosses the chopsticks to another wall where they are picked up and tossed by the third member. She begins an even more rapid sequence, gradually tossing the chopsticks to the far wall, where she begins a very fast sequence creating an almost constant wash of sound. The other two performers stand very close to each other, on the far side of the space, where they are engaged in a duo of “non-touching”; a score which explores the point just before physical touch. The chopsticks stop abruptly, creating a silence, as the duo eventually fade out of the score and move apart.