We talked to Cindy Moorman, artist and creative brain behind the performance ‘The We and the Objects’ , that has been performed in 2018 several times with the visitors of  Kunstpodium T to celebrate its tenth anniversary. In Spring 2018, Cindy Moorman was Master at Kunstpodium T, during the Apprentice Master project. In collaboration with apprentices Jaleesa MalléeAngyvir Padilla and Carla Lavin, she exhibited her work from 31 May till 17 June under the name ‘The I and the Others’.

Cindy, last season you were Master at Kunstpodium T, how was this experience for you?
Being a Master was a challenge for me. Especially thinking about what being a professional artist entails and how to inspire and guide young artists within this role. Often I look back at my own experiences of being a young maker and what I needed back then as an artist. Besides that, I also found the project a challenge because of the international backgrounds of the participants: we solely had contact via the internet in the beginning. But when we all met in person, for example in the backyard of Kunstpodium T, I noticed that our contact changed and that the conversations became more interesting. We came to the conclusion that on many levels we interfaced, and only differed in a few ways. During the project we tried to get together and make something that is relevant in order to offer the visitor new insights. 

This is not the first time that you wrote a performance. How was this experience for you? Did it differ from your usual process?
Yes, it was definitely a different process. Normally I focus on the room when I write a new script for a performance. I ask myself questions like; ‘Where do the performers enter the room and how do they leave?’ But in this particular case, I couldn’t rely on that because the performance would be held multiple times on different locations. What was new for me as well was that we didn’t have a repetitionprocess. Usually I work closely with my performers. I instruct them and rehearse with them. But this time the performers were people without any background in the arts. That’s why I was searching for the best way to help the performers to translate my piece. It was very important to me that the performance was simplistic and meaningfull at the same time. 

What do you hope to achieve with your exhibition?
For my Apprentice/Master exhibition I thought a lot about a spacial script. For example how visitors are linked to the work of the artist. The photos that we’re taken of the performance are artobjects in itself to me. People might think; ‘ Why do all those people wear yellow clothes and what are they doing standing in this triangle?’. Those questions about human relationships that pop up in your head while looking at an image, that’s what interests me. 

Kunstpodium T exists 10 years this year, what does this mean to you?
Of course I heard about Kunstpodium T before, but this year it’s the first time that I personally got in contact with the organisation. What espacially stands out to me, is that Kunstpodium T not only looks at how to show artworks, but also contributes to the growth of the artist and the way he/she displays his/her craft. I think this is a valuable addition to the artsector.

Garden Kunstpodium T