In "if a bee falls in(to) a box" the audience is invited to pick up a package at WUK and then perform at home with the things they’ll find in those packages. What awaits us in such a package? 

Asher O'Gorman, Daniel Lercher, Tara Silverthorn: We designed the package to be an intimate sensorial experience between two people in the privacy of their own home. We have curated a selection of humble materials inside, for example, an egg cutter, tea light, wrapping paper that, quite astonishingly, generate an experience of magic and wonder, which perhaps reminds us of natural phenomena. The work came from an understanding that there is a need to re-establish our relationship as humans to the natural world and our environment (encompassing all things), and the events that unfold through doing the package perhaps lead us towards this.  

You come from three very different backgrounds, choreography, visual arts and sound. What did your collaboration look like in the development of the packages? 

Asher O'Gorman, Daniel Lercher, Tara Silverthorn: The three of us have been friends and working together for several years. We enjoy feeling the enrichment of our respective practices as we improvise and make together. The way that we develop work and share ideas is very fluid, inviting each of us to be a naive expert in each others practices. So basically we are living the dream by gifting one another with our ideas!  
Because of the pandemic, we worked mostly online, with residencies in our respective cities (Bristol and Vienna). We knew it would be challenging (and it was!). We transmitted our conjoined studio/home processes to each other by sending images, writing guidances for each other to try and creating playful environments and processes with materials. We worked through an umbrella theme of ‘natural light and sound phenomena and alchemical processes’.  Through relying on this foundation, images, events and happenings clarified and presented themselves as time unfolded. 

The packages are designed for use after sunset. Why this exact timing and what are the considerations behind it?

Asher O'Gorman, Daniel Lercher, Tara Silverthorn: Firstly, practically speaking, for many of the events in the package to work, they need to happen in the dark. It also feels appropriate and relevant to draw attention to actual cosmic phenomena - i.e. the setting of the sun. We were interested in creating a space for rituals and spell-oriented things to happen. After dark and after work, there is a space of possibility: that feeling of something else that the night brings, different from the day.

You state that the materials in the packages are “at once scientific and magical, ancient and futuristic.“ What do you mean by that? 

Asher O'Gorman, Daniel Lercher, Tara Silverthorn: We are interested in the connections and intersections between these descriptions, moving away from the separation between them. We are curious about the ancient being a possibility for the future; moving forwards by finding new ways of connecting and relating to the actual physical world. 
In this work, the ancient is in the doing of ritual (for example, the carving out of a special time and place, the gifting of a gesture, the telling of a story) and finding wonder in natural phenomena by working with crude physics to create certain happenings. For instance, how the light breaks and refracts on the plastic wrapping paper, thus generating seemingly cosmic images and mirages on the wall. How sound travels differently through various matter (air, string, copper), changing its properties and behaviour. 
And of course the package we have curated, although analogue, is futuristic by carving the way forward for a different type of performative event.