By continually creating gaps between movements and intentions, Movement Materials seeks to question the perception and reading of movement. Movements appear in turn as expectations, signs, starts or approach runs. The dancers occupy various areas of the museum, and the presence of their bodies will mingle with the silent musicality of their breathing, their respiration and the friction of their movements.

The piece is composed of four movements:

1. The movements are defined by practical goals such as hitting, throwing or avoiding.
2. Two dancers reproduce as precisely as possible an existing Brazilian jiu-jitsu fight.
3. One dancer carries one part of his body along a straight line. A second dancer chooses another part of the body of the first dancer. He reproduces the path of this body part independently from the movements of the rest of the body of the first dancer.
4. This sequence is composed of preparations for other movements, for example running for a jump or initiating a rotation for a turn.