Kunstpodium START – 2022:
Positive advice but not awarded,
for the third year in a row.

The Hague, 15.07.22

Dear reader, supports of The Balcony,
Dear  Mondriaan Fonds,

On Monday 11th of July, The Balcony received the outcome of their Kunstpodium Start application. The outcome was positive. Yet, The Balcony will not receive funding.

For three years in a row, 2020, 2021 and 2022 – The Balcony’s application has been positively assessed by the commission, in other words granted, but the funding will not be awarded. Yes. Three years.

First of all we would like to thank the advisory committee for their renewed appreciation of our program. We appreciate the visibility this gives to the initiative by acknowledging the quality of our program. Unfortunately, and again, we realize this appreciation does not translate into the support it promises. According to the Mondriaan Fonds this is due to their limited financial capacity. We do not agree with the following.

As you may know The Balcony, like many other initiatives in The Hague relies on the dedication and commitment of cultural workers, volunteers and artists. Initiators of The Balcony support their living costs, the programming of the initiative, the related production costs as well as their own artistic practices. The time required to write applications like the Kunstpodium Start is significant. This situation is not sustainable in the long run.

This requires a consistent degree of focus spanning over the course of several weeks – often demanding a full-time conceptual and editorial labor. This is done to be able to support the artists, by paying them according to the Kunstenaar Honorarium guidelines, and to cover production costs. In addition of which the initiators of The Balcony, Arthur and Valentino, would be able to paid themselves for their work, at symbolic rate of six euros per hour.

As you can read in details below, we believe that the Mondriaan Fonds, if willing to do so, is able to cover the grants for the positively assessed initiatives. We believe it is a lack of support and understanding, rather than a limitation of budget per se which is at stake.

The reports of the prior years are online here (2020), here (2021) and here (2022)
We are gutted to hear this news for three years in a row. This also confirms our intentions to find alternatives complementary to funding, and to involve our audience in supporting our programming.

In the meantine we would like to thank the Gemeente and Stroom Den Haag for supporting the program this autumn.

And we look forward to seeing you again in September, 

Have a good summer!

Arthur & Valentino

our suggestions

We are glad that our efforts are acknowledged. For instance we read that ‘Het programma heeft een onderscheidende aanpak en de kunstenaarskeuze is passen’ (2021). It is important for a small-scale initiative like The Balcony to distinguish itself and be recognisable, and we appreciate that the commission understands it: ‘Een aandachtspunt is volgens de commissie de onderscheidenheid van The Balcony binnen het lokale aanbod, om van meerwaarde te zijn en blijven’ (2021).

The Mondriaan Fonds ‘waardeert de artistieke visie op actuele maatschappelijke onderwerpen zoals de spanning tussen commercie, arbeid, vrij tijd en de stedelijke (leef)omgeving [...] Er is waardering voor de intergenerationele samenstelling van de kunstenaars selectie’ (2022).

Yet, vocal appreciation over the past three years hasn't translated into concrete support despite our repeated objections.

We would therefore like to suggest the following,


Foremost, the Kunstpodium Start is aimed for small-scale artist-initiatives. Yet, it is also the most competitive. Among the 50 Kunstpodium Start applications this year, only 12 were awarded. This equals 24% success rate. In the two above categories, Kunstpodium Basis and Pro the positive outcome rises to 44% and 66%, as the number of applications simultaneously decreases.

We wonder why the smallest of the initiatives in the country, that rely entirely on the commitment of unpaid labor, should support the toughest and most competitive of the all four categories? In addition, we observe a severe professionalization of the Start category, with a requirement of public reach and audiences comparable to art centers, similar to categories Basis and Pro. In facts, the Staatscourant van het Koninkrijk der Nederlanden 2020, nummer 24800, under Artikel 3.1, states that the Kunstpodium Start scheme is intended to “een klein kunstinitiatief”. Small art-initiatives are… small. Initiating a space, a program or a series of exhibitions and events is the absolute core activity of small art-initiatives. They are not institutions. They do not think in terms of ‘target audiences’  and operate with close to no communication budget. We think this distinction is important.


According to the Mondriaan Fonds, there is no sufficient funding available to support the entirety of the positively assessed applications. We object to the following.

In 2021 and in 2022, no allocation was made within the Kunstpodium Breed category, the highest of all four categories. Both years, the Mondriaan Fonds website stated that ‘the budget for this category will be retained for the next application round and can be awarded in 2023’. The same was stated in 2021.

We believe that Kunstpodium Breed is proving to be ‘too hard to reach’ for any of the institutions in the country. It should therefore be redirected to the categories Start and Basis.

Why should the granting of a Kunstpodium Breed be continuously postponed to a hypothetical future while there is such an urge for small-scale, grassroot initiatives?


The Balcony has benefited only from ‘symbolic visibility’ from being positively assessed, even for three years in a row. Therefore we suggest the implementation of a ‘priority lane’.

As the argument given by the Mondriaan Fonds is that of the lack of financial capacity, we suggest prioritizing the positively assessed applications in the next calendar year, or when funding is made available. Again, this is proving possible by the redirecting of the Kunstpodium Breed into the smaller categories. In the meantime, the available budget for the Kunstpodia has risen from €3 to €4 million between 2021 and 2022. We believe this is possible.

Additionally, we suggest the rotation of funding, for the Start grant scheme in particular.

Small-scale initiatives are characterized by low running-costs, moderate production budgets and often volunteer work. Why would the Mondriaan Fund require the entire Kunstpodium Start funding to be spent in a single calendar year, when €25,000 would typically cover one or more years of regular functioning? We realize this obligation increases dependence on funding, instead of being able to spread the grant on the longer term and use it to develop sustainable alternatives.

We believe it is not a lack of funding that is at stake, but a better understanding of how small-scale initiatives function that is needed. We believe it is time for a better spreading in favor of the Kunstpodium Start, and redirecting the Kunstpodium Breed in particular.


Last but not least, this year’s assessment includes a particular attention to how each initiative contributes to the existing artistic climate within their area, in our case The Hague. The commission writes that this criterion weighed the most.
The Mondriaan Fonds feedback includes the following appreciation:

‘Er is waardering voor de mate waarin The Balcony samenwerkingsverbanden aangaat met lokale meer gevestigde kunstpodia. De commissie herkent de toegevoegde waarde van The Balcony binnen deze context door de artistiek-inhoudelijke uitgangspunten en/of presentatiewijze gericht op artistic research die soms overlappend is, maar veelal complementair aan organisaties die vergelijkbare programma’s uitvoeren.’ (2022)

Yet, for the second year in a row, no initiative in The Hague has been actually granted a Kunstpodium Start.

Why is the third largest city in The Netherlands not granted Start support while the guidelines of the Kunstpodia are specifically intended to be spread across the country? We believe The Hague’s small-scale initiatives have been under-represented within this category in the past two years in spite of a vibrant landscape of initiatives, and positively reviewed initiatives such as The Balcony. We understand there are large organisations represented in The Hague, among the Basis and Pro categories, but this shouldn’t be to the detriment of smaller initiatives. If this is the case, then the Kunstpodium Start intiatives are not only competing against themsleves, but also with the categories above. Obviously, that would be unfair.

To conclude we advocate for concrete support to the small-scale initiatives, for the positively reviewed initiatives, and beyond the simple scope of written appreciation.

We would be glad to further elaborate on our intentions,
Thanking you warmly for your time,

Arthur Cordier, Valentino Russo

On behalf of The Balcony


The Balcony is an exhibition and curatorial platform based in The Hague, founded in 2018 by Arthur Cordier & Valentino Russo. The Balcony curates exhibitions supporting the presentation of upcoming practices with a focus on alternative formats of display, keen on collaborations and often unconventional locations.

Starting 2023 The Balcony is curated by Arthur Cordier (BE), Valentino Russo (IT), Abril Cisneros (ES/MX), Mari Kolcheva (BG) and Ariane Toussaint (FR).
👉 Read more about the curatorial team.

The initiative has previously been hosted in the vitrine of a violin store 2018–2020 as well as the basement of a former office space known as Susan Bites 2019–2021.


Nestled within the vibrant cultural landscape of The Hague, The Balcony is a dynamic curatorial platform committed to nurturing the voices of emerging artists while engaging audiences in thought-provoking dialogues on the interplay between leisure and labor within contemporary society. Our focus lies in developing alternative formats of display and fostering collaborations across generations, bridging the gap between recently graduated makers and established artists. Through meticulously researched and humorously curated exhibitions, as well as a rich public program, our mission is to initiate interdisciplinary conversations, connecting the local art scene of The Hague with broader international currents of contemporary art. We aim at bringing creative ideas to a wide and diverse audience through various forms encompassing not only exhibitions, but also reading groups, peer-to-peer feedback sessions, crossover panel talks and workshops.

Vision and values

The Balcony envisions the curatorial platform as a means to inspire a creative public, to encourage local artistic creation and to create an alternative social space. Central to our ethos is the belief that art should not exist in isolation but rather serve as a catalyst for dialogue and reflection. We cultivate a space where artists and audiences alike can engage in generative discussions about artistic production, fair practices, and economic sustainability. In a world dominated by hyper-efficiency and productivity, we firmly believe that it is important to offer spaces like ours, which give individuals the chance to learn about alternative approaches to help situate and position oneself in a worldly complex context.

At the heart of our mission is a deep-seated curiosity about the driving forces shaping our world today. The Balcony’s program delves into the friction between labor and leisure, uncovering the seemingly invisible processes at play within our communities. Through a thematic, multi-layered approach spanning multiple exhibition chapters, as well as an accompanying public program, The Balcony aims to provoke introspection and spark engagement, sharing with visitors a sense of connection and relevance. By advocating transparency and fostering a sense of community, The Balcony strives to create a sustainable ecosystem where creativity can thrive.

Artistic strategy

The Balcony conceives new exhibitions with a bottom-up approach, by identifying the broader themes that run through our society in the topics that inspire today’s artists. We seek to bring audiences closer to the mental and creative process of artists and makers. Our exhibitions speak to the most vital aspects of humanity, which include the questioning of work- ing conditions, and the need for collectivity and exchange.

The Balcony does not seek to impose a vision, but rather to create a safe space for nurturing reflection and criticism: to encourage the emergence of ideas, we can test, tease and experiment with. We believe that the contemporary world is complex and calls for solutions. Young artists are key players in proposing alternative, renewed and ‘fresh’ ideas, as well as imaginative and speculative scenarios.

During exhibitions 
Fri-Sat: 13:00-18:00
Mon-Thu by appointment

Nieuwe Molstraat 14-A2
2512BK, The Hague

︎ thebalcony.thehague@gmail.com
︎ thebalcony_thehague
︎ thebalconythehague


The Balcony is currently self-funded.
Donations help us support the artists and sustain our program

︎︎︎ via Paypal 
(donations 100€ or above - receive a screen printed artist edition) 

The Balcony currently

Nieuwe Molstraat 14A-2, The Hague (NL)

The Balcony is now located on the ground floor at Nieuwe Molstraat 14A-2. The location combines a project space and studio spaces.
During exhibitions 
Fri-Sat: 13:00-18:00
Mon-Thu by appointment

extra muros

Worldwide ︎︎︎

Along with curating exhibitions in The Hague, The Balcony fosters a network of collaborations outside of The Netherlands.
Among the initiatives and events that The Balcony has joined forces with, there are Art au Centre in Liege (BE), Fonderia 20.9 in Verona (IT), SWAB, Contemporary Art Fair in Barcelona (ES), P145 in Berlin (DE), Salon 75 in Copenhagen (DK) and CAV Gallery in Bucharest (RO). 
photo: TikTok vs Abramovic, P145. Berlin

TheBalcony vitrine

Closed [2018 - 2020]

Located at Herenstraat 14 in The Hague, the vitrine space was part of Willem Bouman & Zn. building, a violin shop and atelier. Here, The Balcony presented artists whose practice engaged with the vitrine, in relation to the public space and its 24/7 visibility. 

Curatorial line—Click for PDF

The intuition leading the space was to present non-The Hague based artists - in priority, and to introduce their practice within the cultural context of the city.

Susan Bites project space

Closed [2019 - 2021]

Located at Laan van NOI 125 in The Hague, Susan Bites was the former studio of the members of the collective and hosted exhibitions in the basement rooms.
The project space operated between February 2019 and March 2021.
Between January and June 2020, graphic design by Eva Rank (EE).  Former members include Ioana Ciora (RO) & Matthew James Lanning (NL).

Press selection

  • Mister Motley
  • Marijn Bril: ‘Misschien zijn deze objecten gewoon onderdeel geworden van de natuur’- met Benjamin Earl naar General Morphology of Urbanism bij The Balcony

  • Metropolis M
    Micro Art Initiatives #36 – The Balcony & Susan Bites in The Hague

  • Jegens&Tevens
    Highlighting The Hague Contemporary Art Weekend 2020

  • Mister Motley
  • Sophie Smeets. Kunst in een raamkozijn

  • HOOGTIJ #61
  • Marie Jeanne de Rooij in conversation with Jane Huldman, about The Balcony & Susan Bites, Stroom Den Haag 
  • (extract, in Dutch)
  • Jegens&Tevens
  • The Rock Talk Project at Hgtomi Rosa, participant

  • HART-Magazine
  • ‘The Town House and the Country House in Rochefort’, Kunst in Quarantaine

  • Villa Next Door
  • Bertus Pieters. Anita Mikas & Markus Liehr, Express Delivery Syndrome; The Balcony

  • Jegens&Tevens
  • Frits DijcksWaar kunnen we nog heen?

  • Jegens&Tevens
  • Arthur Cordier. Liège. Come for the beer, stay for the scene

  • Jegens&Tevens
  • Frits Dijcks. Hoogtij, de geschiedenis van de Haagse rondgang – deel 2

  • H.Art.
  • March 2019. City report The Hague

  • Jegens&Tevens
  • Cathleen Owens. A contaminated travel guide to Verona and beyond

  • Jegens&Tevens
  • Frits Dijcks. John van Oers @ The Balcony                

  • Villa Next Door
  • Bertus Pieters. Martin Gabriel, non beton place; The Balcony


KVK: 93982593
Board of Directors
Chairman: Valentino Russo
Treasurer: Arthur Cordier
Secretary: Ariane Toussaint
+ Marica Kolcheva
+ Abril Cisneros Ramirez

Advisory Board
Julia Fidder
Maurits van de Laar
Sarah Melikian

Code of conduct

Our commitment to fostering a safe and inclusive space is paramount. This Code of Conduct outlines the behavior expected from everyone, both online and offline, to ensure an environment where all can thrive.

1. Who it applies to

This Code of Conduct applies to all members of the The Balcony community, including but not limited to staff members, advisory board, exhibiting artists, artists in residence, partners, sponsors, interns, volunteers, and participants in our online and offline activities.

2. Why we have one

We endeavor to create an intentional space free from harassment and unease. Our aim is to nurture a respectful and collaborative work environment, expecting cooperation from all involved to ensure the safety and well-being of everyone.

3. What The Balcony stands for

At The Balcony, we are guided by the following principles:
  • We adhere to the Cultural Governance CodeCultural Diversity Code, and Fair Practice Code.
  • We champion ideal working conditions for artists, supporting their development to the best of our abilities.
  • We are committed to decolonization and inclusivity, offering a platform to underrepresented international artists.
  • We encourage the development and sharing of research and knowledge.
  • We maintain a strong connection with our local community while embracing our international position.
  • We cultivate an open climate that encourages learning, positive change, and the application of lessons learned.
  • We prioritise providing a hospitable experience in all our activities.
  • We stand in solidarity with those fighting against violence and oppressive ideologies of all forms.

4. What we ask of you

At The Balcony, we promote the following behaviours:
  • Creating safer spaces that are accessible and comfortable, fostering compassionate innovation.
  • Centering people with diverse experiences, backgrounds, and bodies.
  • Actively working together to create spaces of compassion, empathy, sharing, learning, and understanding.

    We do not tolerate the following behaviours:
  • Violence or threats of violence toward another person.
  • Incitement of violence towards any individual.
  • Offensive and unwelcome comments, conversations, or presentations related to various aspects of diversity.
  • Deliberate intimidation, stalking, or following.
  • Sustained disruption of talks or other events.
  • Inappropriate physical or social contact or sexual attention.

Even if the behaviour was unintentional, the comfort and safety of marginalised individuals will always be prioritised.

5. If this Code is not followed

If you witness or experience any harassing behaviour, please report it immediately to a staff member. Participants asked to stop harassing behaviour must comply immediately. Staff may take appropriate action, including warnings or removal from The Balcony, as deemed necessary.

6. If this Code is not followed by our staff

If a staff member engages in harassing behaviour, please report it to another staff member.
Appropriate action will be taken promptly.

7. Feedback

This Code of Conduct is a dynamic document. If you believe anything is missing or could be clarified, please contact us at: thebalcony.thehague@gmail.com

8. Credit

We encourage the use of this Code of Conduct by other organizations. When doing so, please provide credit to Afrotech Fest as the original source. We have drawn inspiration from various sources, and we acknowledge the contributions of Geek Feminism, CSSConf, JSConf, the Conference Code of Conduct, XOXO Community Code of Conduct, Het Nieuwe Instituut, Parasite, Mores.online, and the Mozilla Community Participation Guidelines. Content from linked sources remains the sole property of their respective authors.

The Balcony project space


       The Promise of Ruin(s),
            Chapter seven: Eternal Sunshine of the Restless Mind

       Slow Drift(s),
            Chapter one: Peggy Ahwesh

       Towards a new domesticity, The Hague

       Semantics of the Shell, CAV Gallery

       The Promise of Ruin(s),
            Chapter six: General Morphology of Urbanism
            Chapter five: Fully Worktioning
            Chapter four: The insincere charm of things

       The Promise of Ruin(s),
            Chapter three: From Dust till Dawn
            Chapter two: Misfortunes of the Turbo-Tasking
            Chapter one: Parasites of the Imaginary

       The Loading, with Salon 75 

Willem de Haan
Tudor Bratu


        Towards a new domesticity, CAV Gallery, Bucharest (RO)
Oh darling, Let’s run with the turtles, Salon 75, Copenhagen (DK)
SEA Foundation, Tilburg (NL)
        Untitled (self), Laura Jatkowski, Liege (BE)
        TikTok vs Abramovic, Berlin (DE)
Fly-In-Fly-Out, Eva Pel, Liege (BE)
A Finger in Every Pie, The Hague (NL)
SWAB Contemporary Art Fair, Barcelona (ES)
ACDC, Dilum Coppens, Liege (BE)
Work, Comfort, Home, Michael Mönnich, Liege (BE)
The Town Mouse and the Country House, Rocherfort (BE)
Contamination, Fonderia 20.9 (IT)

Susan Bites 

Days of our Lives, Group  
A Finger in Every Pie, Group
INFRA, Group
Grigoris Rizakis, Solo
All Bark No Bite, Group

The Balcony vitrine

Harriet Rose Morley
Gabriele Dini
Wouter van der Giessen
The Town Mouse, Group
Anita Mikas & Markus Liehr
Lisa Sudhibhasilp

Jānis Dzirnieks
Gökay Atabek
Niels Post
Saelia Aparicio & Mire Lee
John Van Oers
Archetype, Duo
Marlotte Nugteren
Jolijn van den Heuvel
Johannes Holt-Iversen
Franziska Harnisch

Reynir Thor
Jason Terlouw
Vera Mennens
Julie Kern Donck
Rick van Meel
Hester van Tongerlo
Linda Lenssen
Martin Gabriel
Michael Mönnich