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The We sweater. Because connection doesn’t happen by itself. Red and blue don’t simply become purple. It asks for something in between: a rhythm, a rule, a gesture, a sweater. A wearable connection. Each piece is unique and handmade. A soft structure that holds the possibility of relation.
Welcome. We search for connection. In all We do. From choir compositions to socks. Explore and shop or contact us for your own inviting Form or meaningful Formations.
I’m Cindy Moorman. Visual artist. Among other things. I create Scripted Gatherings: carefully composed playing fields in which I temporarily connect people, objects and ideas. To search for forms that give shape to connection. Because how does connection actually happen? Suddenly there’s something in-between. But what? When does it begin, or end?
Within these choreographed spaces, I shape every element — from hand-tufted carpets, spatial banners and painted scripts to colorful stamps — creating a precise setting that invites people to think, move and relate.
Perhaps you’ve already stepped into my work.
At the Van Abbemuseum in Eindhoven, Museum Voorlinden, Museum Arnhem, Paradiso Amsterdam, or elsewhere.
Or maybe you’ve heard me speak about it on NPO Radio 4, Kunst is Lang, Amsterdam FM Tenjinyama Studio (JP) or in Het Parool.
If so, I’d love to hear your thoughts.
Not yet? Or curious for more?
Two of my works: the Conga Line Dancers, the Explorers, the Observers and the Team and the Guide can be seen permanently at Levvel and De Alliantie at Tafelbergweg 8 in Amsterdam.
My ongoing search is regularly made possible with the support of the Mondriaan Fund, Amsterdam Fund for the Arts, Stichting Stokroos, PPO Development Budget, Niemeyer Foundation, Jaap Harten Fund, and many others. Endless thanks to them!
“Cindy Moorman’s art breaks through object-orientation. In her work, the encounter takes centre stage. The visual spectacle may be present, may be seen, but it plays a supporting role.” — Marli Huijer, philosopher
“The performance playfully sharpens the roles of performer, art professional and artwork, in an environment where seeing and being seen is the norm.” — Sanneke Huisman, curator
“She removes the noise and the clutter until an essence remains… fundamental structures become increasingly visible.” — Maaike Lauwaert, curator
“By bringing performers and audience together as representatives of the ‘We’, Moorman succeeds in powerfully visualising the complex phenomenon of group dynamics.” — Jakob Van Den Broucke, writer
“An ode to solidarity: without the collective, the individual would never have broken free.” — Lieneke Hulshof, curator
“The work invites participation, making the audience part of a collective choreography of symbols, light, and sound – until the ‘we’ simply emerges.” — Bob Witman, critic
“You see and hear how a group of people detaches from you, forms itself before your eyes, becomes a unity. Then the realisation dawns that, through their separation, you too are reshaped into a group… Rarely do you experience this so consciously as during a performance by Cindy Moorman.” — Richtje Reinsma, artist
“The uncertainty of connection stands almost in direct contrast to the certainty you create with your scripted gatherings.” — Noor Spanjer, journalist
“Stilled in time, very slow, very gradual. It was a sculpture, a sculptural work.” — Hanne Hagenaars, curator
Welcome. We search for connection. In all We do. From choir compositions to socks. Explore and shop or contact us for your own inviting Form or meaningful Formations.
Are you looking for a goat track, an engaging gathering, a spatial intervention, a collective detour or a custom-made emblem? You’re in the right place. Let’s begin.
I believe in artists as Master Diverters. Nothing ever came out of simply moving along with the rest. Change and progress ask for detours in thought, in form and in the ways we relate.
From within my own playing field, I think about connection, collectivity and the role of form in shaping how we move together. Book a live contribution — from lecture to interview to public conversation — rooted in my artistic research.
What began as a book unfolds as a series of Scripted Gatherings in which art, philosophy, ritual and conversation come together in a search for connections. Between people, ideas and forms.
The first edition took place in a sold-out debate centre De Balie with 140 Engaged Co-Players. Following this first vibrant edition (2025), it continues as an ongoing series that invites new contexts to host and shape the next chapters.
Shaped by space, participants and audience, each encounter unfolds differently. What you program is a live, participatory encounter in which the audience becomes co-players and connection is explored, enacted and negotiated together. Adaptable in scale and composition. From museums to theatres, festivals and public institutions.
We’re happy to guide you in the right direction. With colourful, inviting sets for our human stage. That offer orientation.
This 24-metre-long banner was designed especially for De Tafelberg and its visitors. Commissioned by De Alliantie, the large-scale set piece offers a bold cue for orientation in a shifting urban environment.
What you commission is a performative spatial intervention. Embedded in architecture, landscape or public space. It is developed for its context and materialises as a visual gesture within the environment. Influencing how people move, look and position themselves.
A choreographed process to collectivley explore whatever is on the table. Each commission starts from a specific question and unfolds into a collective setup - a game, score or ritual - that structures interaction and generates bright language.
Commissioned for CrossYart, this workshop began with a question: What role do the Others play in my work? And what does that mean for my work and the role I play? I designed and hand-made a game that turns the roles of artist, artwork and audience into a colourful choreography. Through an abstract playing field, participants are invited to reflect on their own position, role and relation to the artist, and the work. The cards offer footholds.
The sessions bring colorfull clarity. And the act of playing opens space for a new shared language. Looking to develop a collective process for your organisation or event? Let’s set the stage together.
How do you find your place within a new community? The residents of De Tafelberg – a former young offender institution converted into a residential complex – can directly engage with this question through Moorman’s work.
Carefully designed socks, a small hand-folded box and a monumental tufted rug are used to introduce four distinct roles within the group dynamic. From conga line dancer and explorer to observer and team player.
The objects jointly form a welcoming gesture, within which form, colour and motion each play a meaningful part. The box, with its concealed message and hand-written signature, marks the ritual of admission.
The socks, with their trademark pattern of white, blue, red and purple dots, visually connect the residents in everyday life.
In the former gym, a monumental rug suspended from a hoist and pulleys descends to the floor, transforming the space into a choreographic playing field. Here, visitors are invited to participate in ‘Breaking out of the Conga Line’: a light-hearted exercise that involves letting go, moving against the tide, keeping your balance and finding your own rhythm within the collective.
Listen to me reading the concealed message out loud
A shared emblem marks a position. Developed in close relation to a person, group or context, each emblem takes shape as a precise translation of their role, language or question.
The first edition was created for the Denker der Nederlanden. The handpainted yellow surface reflects the tightly woven logic of our shared systems. The black diamond opens a portal into the unknown — the space of thought.
Each piece is developed specifically for its context. Translating a role, a question or a way of thinking into form. Small in scale, but carrying a collective gesture.
An evening bringing together art, philosophy, ritual and conversation in a search for connection. Between people, ideas and forms.
No fewer than 140 devoted fellow players entered the Main Hall of De Bali November 28 in 2025, to bring Moorman’s newly released book I and the Others to life. Under the guidance of Emma Harjadi Herman, what began on paper was brought to life. A playful evening in which no one remained a spectator.
Within a unique theatrical setting — with coffee cups, Jacques Tati, six kg of yellow wool, purple capes, two bars of blue soap, feet in dotted socks and a discoball — the space became a playingfield for exploring what it means to move between one another and the things around us.
The evening marked the beginning of an eight-year series of Scripted Encounters (2025–2033), continuing the ongoing search for connection in ever-changing form.
Ianthe Mosselman - programmemaker, De Balie: It was truly a pleasure to see you at work! So thoughtful, intelligently playful, and full of joy. I’m already looking forward to the next evening!
Willy de Rooij - conductor Van Abbemuseum Choir: I really enjoyed the evening. Such interesting guests at the table and a perfect match with the moderator Emma. In short: it was wonderful.
Evelien Vos - writer: Thank you so much for the fantastic evening. I was already looking forward to it beforehand, but I kept looking forward to it until the very end — because of the feeling that new surprises would keep unfolding, and that I might even surprise myself.
Anne Hoogewoning - architectural historian: What an amazing and unique evening it was at De Balie.
Dennis Hoof - care worker: I want to let you know how special Friday was for me. It was one of those evenings that can hardly be put into words — more a rich visual experience, a kind of inner movement that touched all my senses and intuitively set so much in motion within me.
When does an individual become a member of a community? And can both roles exist side by side? This work revolves around a hand-painted blue medallion suspended from a bright yellow cord.
The object contains a rechargeable battery that powers it on whenever you unfasten the lid. Opening the medallion releases the hue and sound of purple: a stately chord recorded by the Van Abbemuseum Choir.
The medallion translates the experience of community into an intimate object that can be worn on your person.
The first edition was presented during This Art Fair, where visitors could experience this communal voice encapsulated in a private object.
How do you give shape to temporary collective connectedness? In this eight-year case study, Moorman examines the forms and language of connection.
Every year, on the second Sunday of October, the members come together in a specially designed digital clubhouse where only their feet are visible to others. They’re all wearing the same grey socks with blue, red, yellow, black and white dots.
During this gathering, the association focuses on one of its eight tenets, e.g. ‘View red as an infinite enigma’. A colourful ritual, which is actively contributed to by the members: from designing the club logo and sharing reflections to a live family constellation.
For the remainder of the year, the socks sheathing the feet with which we traverse our world serve as a tangible reminder of these interactions. The association will be officially dissolved in 2028 – once its members have dealt with the last of the eight tenets.
21 Step beyond the common white into the distinct blue - Judith de Joode
22 Choose the corresponding green (for you, blue) consciously. - Lotte van Geijn
24 Look at red as an infinite enigma. - Mystery Guest
25 Make use of your moments in an orange rectangle. - Rubiah Balsem
performance
The We is there where We have something in common.
Within theWe.online We engage through something We all share: our voice. By turning the voice into a portal to collectivity, it aims to create a place where I can connect with the We through listening and participating.
What began with 22 voices from the Van Abbemuseum Choir has grown into a collective chord of over 248 participants. The sound you hear is created by those who have already added their voice — each one represented by a purple dot. You enter as a white dot; only by contributing your voice do you become visible and audible, part of the We. The current number of participants is shown in the lower right corner.
Click ‘participate’ to join and add your voice to the growing harmony.
To commemorate the moment you joined the We, you can order a physical proof of your participation. Get your own personal certificate with a ribbon attached and hand signed by the artist Cindy Moorman for just €22. This is not just a treat for yourself, but also a way to support the project.
The We is an online Scripted Gathering, developed with Studio Harris Blondman, the work was given a physical presence in the exhibition at Kunstverein Ahlen: a playing field and quiet invitation to play.
What does it mean to temporarily surrender to a prescribed order? In this work, Moorman explores how order both offers a footing and kindles a desire for the unpredictable.
It starts in a green field on Zwarte Meer, where the participants find a container filled with purple capes. The moment one of them pulls on a cape, the rest is sure to follow. Each cape has a colourful tag, which has been illustrated with a script for the event.
The newly-formed group boards a boat that takes them across the lake, to the pier of Paul de Kort’s work PIER+HORIZON. The pier carries them to a stand with orange dots. Here, the participants can see the second half of the group drawing near through the geometric new land of Flevoland’s Noordoostpolder.
After arriving at the remaining dots, the group sings a chord composed by Moorman: a sound that envelops the sixty-four participants within a temporary purple rectangle. After eight minutes, the chord draws to a close and the group disperses.
How does a person become visible within a group? In this series, Moorman explores the individual’s dependence on the collective.
The performers and audience assemble around a large wooden disc in an otherwise empty space. Sixteen performers step forward in response to a signal.
One member of the group moves onto the disc, after which the others lift the plane in complete silence – only punctuated by the susurration of tensely controlled bodies in motion. The body is raised above the group, elevated and stately as a work of sculpture.
After four minutes frozen in time, the platform descends to the floor. The floor reverts to its original vacuum, with only the memory of a moment of elevation remaining.
“Frozen in time, very slow, very gradual. It was a piece of sculpture, a sculptural work.” — Hanne Hagenaars
How does a temporary We come into being? In four meticulously directed scenes, Moorman takes visitors along in a collective choreography where viewer and participant merge into one.
The underlying scenario is revealed through posters with purple dots pasted on the orange-lit façade. These posters guide the audience into the venue of the gathering, where they are stamped with a fluorescent image.
In the main hall, thirty singers mingling among the attendees proceed to perform one of Moorman’s compositions. While their voices gradually intertwine into a single chord, the space is subsumed in purple light, immersing audience and performers into a shared experience of colour and sound.
The stamped fluorescent image subsequently lights up and the participants leave the space - marked by a fleeting shared moment that briefly lives on on their skin.
How visible is the humanity underlying our structures? This work came out of an engagement with the Stichting Kunst en Openbare Ruimte archives: a decades-old repository of documents relating to public sculpture. Performers and audience initially mingle in the empty exhibition space of Stedelijk Museum Bureau Amsterdam.
The 120 performers are then signalled to cluster into separate groups. Clothed in black, white, blue, red and yellow, they form five base shapes: a sphere, square, cylinder, cone and pyramid. These shapes are erected in silence, only punctuated by the sounds of rustling fabric and shuffling feet. The space is filled with five vulnerable, temporary sculptures.
Whereas most public sculpture claims a permanent location, these living edifices show just how fleeting order can be. After standing for a full four minutes, the formations collapse - with only the memory of their collective structure remaining.
What happens when voices blend into euphony? In three choral compositions, Moorman explores aspects of the dynamics of collectiveness.
During the performance, 22 singers seek to find a joint rhythm and merge into a group - which will ultimately break up again. For a full eight minutes, the space is filled with a chord that briefly unites
the individual entities.
Vocal harmony as a living equilibrium, in which individual sounds dissolve in something greater than the whole and nothing can come about without some form of surrender. At the same time, there’s no avoiding the eventual breakdown of this order.
This choral work is a logical follow-up on my performancebased art: in this work, connection is literally shaped in sound, time and space. At the end of the performance, the audience can look back on three abstract translations of something that they were part of, albeit for a fleeting moment - something that then vanished into thin air.
Where you part of a Scripted Gathering? Are you a fan and in need of merchandise? Or you want something unique? We offer different ways to connect via the objects.
In I and the Others, the reader joins artist Cindy Moorman on a search for connections. Between people, ideas and forms. Eight different voices track their way through Moorman’s work, while exploring what it means to move between each other and the things around us. A gathering in book form. With refreshments, Hannah Arendt, Alice in Wonderland, a contribution by philosopher Marli Huijer and the occasional conga line. A collective monograph in which art, text and encounters come together, in a quest that invites you to think along and keep your eyes open.
Concept: Cindy Moorman and Esther de Vries
Authors: Cindy Moorman and Marli Huijer
Editing and text development: Hannah van Binsbergen
Graphic design: Esther de Vries
Photography: Thomas van Schaik and Cindy Moorman
Lithography: Marc Gijzen
Translation: Willem Kramer
Proofreading: Koen van Baelen
Printed by: NPN printing
Binding: van Heest - Patist Boekbinders
Edge colouring: Critis, Beernem
ISBN: 978-90-835325-8-5 (Englisch)
ISBN: 978-90-835325-8-5 (Dutch)
This publication is possible in part thanks to the financial support of Amsterdam Fund for the Arts, DordtYart, Jaap Hartenfonds, Mondriaan Fund and Stichting Stokroos.
Special thanks to Anne Hoogewoning, Annet Zondervan, Arie Jaap Warnaar, Bob Witman, Bonnie Dumanaw, Diny Moorman, Evelien Prins, Evelien Vos, Hanne Hagenaars, Fred Moorman, Lyda Vollebregt, Martin Sämmer, Mendy Moorman, Richard Niessen, Rubiah Balsem, Sanneke Huisman, Yasmijn Jarram and everyone who has cheered on this project from the sidelines.
The We sweater. Because connection doesn’t happen by itself. Red and blue don’t simply become purple. It asks for something in between: a rhythm, a rule, a gesture, a sweater. A wearable connection. Each piece is unique and handmade. A soft structure that holds the possibility of relation.
Take home the choreography of bodies folded into one moving line? This image captures The Conga Line as staged performed at Museum Arnhem for this photograph and performed live at Nest (The Hague). A keepsake of collective rhythm, overtaking direction, and the challenging choreography of stepping out of line.
A mug from the Alle Maten sock club. Though the socks are no longer available, this mug offers a daily reminder to step out of the Remote-Controlled Conga Line. Something to hold while the feet keep moving.
50 pairs of All Sizes socks, worn in yearly digital gatherings. Grey base, bright dots, shared steps. Togetherness in textile form.
People become colour. Dots become structure. This painting captures the fleeting geometry of being together. Just once, just here. An abstract relic of encounter, composed in lacquer and care.
A lasting imprint of a temporary alignment. Documenting The Structures at Stedelijk Museum Bureau Amsterdam, these images capture the precise moments when instructed bodies assembled and dismantled a collective construction. Living edifices, revealing how deliberately order is built and how quickly it dissolves.
Your own wearable emblem for being a part while being apart. At the time of the pandemic, the need arose for an emblem: a symbolic object that connects me to the We beyond our physical encounter. This took shape in a medallion. Your own personal, wearable reminder of the We. Enjoy the We on a daily basis. Alone or with Other(s).
The medallion is blue on the entire outside and can be hung with a yellow cord. The inside is purple. When the medallion is opened the sound of the We is heard. When closing the medallion the chord stops. Inside the locket is a battery that can be wirelessly rechargeable. At 7 cm in diameter and hand-painted, it is truly an eye-catcher. With its aesthetic, it refers to both positions: the I - the blue circle and the We - the two purple circles and the collective sound
A roll of 100 self-adhesive stamps, designed by me. These stamps reimagine the ordinary. Claiming space where routine once ruled.
Meet the Conga Line Dancers, the Explorers, the Observers and the Team. In a vivid and thoughtful interview by Lotte van Geijn. Brought to life with dynamic images by Marieke Gelissen, and beautifully designed across 10 pages by Philip Stroomberg.
Were you there? Or do you want a daily reminder of that fleeting, collective moment for Land Art Life? This image documents the scripted gathering where sixty-four caped participants moved as one, then dispersed. A keepsake of shared choreography, quiet order, and the beauty of letting go.
What lies beneath the many different works? Since 2016, eight fundamental figures have shaped the foundation of my practice: the Given, the Multitude, the I, the Other(s), the Constructions, the Objects, the Field, and the We. In this first visual constellation, they come together.
Set against a monochrome grey background, each figure is painted in acrylic with its own colour, shape, and position within a network of relations. A living framework and a tangible map of what usually remains unseen.
A unique object from the playing field. Showing the first choral composition developed for the Van Abbemuseum, this piece holds the memory of a fleeting collective moment, translated into line and colour. A true collector’s item. One edition only.
Listen to a recoring of the compostion performed by the Van Abbemuseumchoir
Part image, part score, part memory of a temporary We. This framed work visualises the structure behind the choral composition created for the Scripted Gathering in Paradiso. It shows the rules, brought to life through the singers’ collective interpretation. A work about structure, variation and co-responsibility.
Listen to the composition performed by the Van Abbemuseumchoir for Paradiso
Hands connect. They pull closer. Push away. Hold. Let go. In the videowork ‘I and the Other’, hands are the main actors. Me in blue. The Other in red. Inside the grey frame, I navigate the space between us. Two frames from the video now meet again. Printed on fabric — a moving image you can carry.
A fragment of a shared choreography. These photographs hold onto scenes from a scripted gathering, commissioned by Kunstpodium T, where the We took the shapes of the Objects. Choose one, or bring the full constellation together as a set of three.
A suspended moment from a choreography of hands. Drawn from the commissioned video ‘I and the Other’: my blue hand meets the Other in red within a grey field. Four encounters, shifting roles. From Observers to Coproducers. Each still captures a fleeting moment, revealing roles in motion.
Available individually or as a series. Sizes can be defined together.
It feels soft and smoothly follows your movements. This scarf traces the Conga Line, where movement feels effortless, almost inevitable. Until a blue dot shifts. A wearable reminder that the line only exists because we keep it going.
A handmade reflection on The Structures. Charcoal black holds the Given; yellow painted paper is cut, woven, and gently disrupted, leaving an opening for my hand. An invitation. Constructions can hold us, but they can also be undone. Own the moment where structure opens into possibility.
Say hello anytime: info@cindymoorman.nl
Follow the work as it unfolds: instagram.com/cindy_moorman
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