We believe that the art world has a responsibility to foster cultural exchange and support others, no matter who they are. Of course, this sense of responsibility extends beyond the arts. At the same time, solidarity often grows where people share a common practice or identify with one another beyond simply being human. This was clearly the case for the curators and directors of art institutions who, from the very beginning, chose to donate their 1% to support the artists we started with.

Why the arts made it possible

Starting within the arts had practical advantages. Ideas can move quickly. There is no need for years of feasibility studies or complex assessments before acting. The art world is small enough, and open enough, to reach artists across borders, exchange perspectives, and turn conversations into action. Ideas circulate, projects emerge, and some of them take on a life of their own.

That is exactly what happened with Social Income, which was initiated by the arts organization Random Institute before being established independently. What began as support for artists in Sierra Leone gradually expanded. Over time, Social Income grew beyond the arts framework and became what it is today: a social initiative grounded in solidarity.

Who made it possible

Social Income’s early steps were made possible by the support of progressive art institutions. Public institutions like Stroom Den Haag, whose mission is to explore forward-looking societal perspectives, invited us to present in the Netherlands. International experimental institutions such as Kunsthalle Tropical and KADIST, provided crucial contributions. International galleries also played an important role, including Sies + Höke in Germany and Galerie Tschudi in Switzerland, to name two.

Behind every institution are people who make decisions. Many of them chose to contribute personally as well. This includes individuals working at Swiss museums such as Kunsthalle Zürich and Centre d’Art Neuchâtel, as well as people employed by publicly funded organisations that support artists, such as Swissnex in San Francisco, the Museo de Arte Moderno in Buenos Aires and the Swiss Federal Office of Culture.

Staying true to the arts

We remain closely connected to the art world, not out of nostalgia, but because it continues to be relevant and effective. Artists are often among the first to feel economic pressure, and starting with them can be an effective way to launch a program in a new country. It allows us to build trust quickly and learn from a community that is used to working with limited resources and high uncertainty.

The connection to the arts also never really left us. Many of our early supporters are still with us today, continuing to donate 1% of their income. What began in the art world has grown beyond it, but that sensibility remains: attentive, critical, and deeply human.