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2021-03-31-accounts

FINANCIAL STATEMENTS

FOR THE YEAR ENDED

31[ST] MARCH 2021

Legal Name: CAMDEN ARTS CENTRE (A Company Limited by Guarantee)

Charity No. 1065829 Company No. 02947191

Supported by:

Camden Arts Centre Company Information

Board of Trustees: Eliza Bonham-Carter (Vice Chair)
Tia Counts
Alexandre da Cunha
James Fobert
Guy Halamish (Chair)
Anne Hardy
Heather Johnson (Resigned 14.12.2020)
Porus Jungalwalla (Treasurer)
Merissa Marr
Oluwatundunmininu Obidipe (Appointed 12.10.2020)
Ben Rawlingson-Plant
Karen Sanig
Jonathan Simpson (Appointed 14.12.2020)
Senior Management Team: Director: Martin Clark
Deputy Director: Moya Malekin
Registered Office and Camden Arts Centre
Business Address Arkwright Road
London
NW3 6DG
The legal name is Camden Arts Centre, however we now operate under the
name Camden Art Centre, which is used throughout this document.
Auditor Sayer Vincent LLP
Chartered Accountants and Statutory Auditor
Invicta House
108-114 Golden Lane
London
EC1Y 0TL
Bankers Barclays Bank Plc
131 Finchley Road
London
NW3 6HY
Solicitors The Charity Team
Russell-Cooke Solicitors
2 Putney Hill
London
SW15 6AB

Camden Arts Centre Contents Page

Page
Trustees’ Report 1 - 24
Independent Auditor’s Report 25-27
Statement of Financial Activities 28
Balance Sheet 29
Statement of Cash Flows 30
Notes to the Financial Statements 31 - 46

Camden Arts Centre Trustees’ Report for the year ended 31[st] March 2021

Executive Summary

Camden Art Centre’s management, staff and trustees have worked hard over the last year under the extremely challenging and constantly changing conditions as a result of the Covid-19 pandemic to ensure that the organisation remains financially stable, staff are supported and safeguarded, and we continue to deliver high-quality exhibitions, learning, public programmes, residency and professional support programmes to our beneficiaries and audiences. This has involved regular communication between senior management and trustees, ongoing budget reviews, conversations with staff, and responding to government measures and emergency funding opportunities that emerged to support organisations in this extremely challenging period. In all of this we have worked hard to ensure that decisions made are in the interests of our long-term ambitions.

Some aspects of our work have paused or transitioned online, but it has also been an opportunity to reflect and consider how our programmes and structures might be reimagined and reformulated. In total 86 artists were commissioned across our programmes during 2020-21. We launched our new visual identity in 2020, the culmination of a branding review in 2019-20. Improvements to our digital infrastructure such as website and CRM upgrade were paused alongside communications staffing recruitment (due to financial considerations), but at the same time work was accelerated through the launch of new digital programming such as The Botanical Mind Online microsite and Camden Art Audio podcast series. We also created expanded online learning resources – including a digital publication sharing how our SEN programmes were transitioned online – and participation in our Youth Collective programme expanded as young people based further away from the centre had the opportunity to participate. As the first lockdown was eased, we re-opened our doors with an exhibition on-site, The Botanical Mind , safely welcoming audiences back into the building through September and October. Our front of house team was expanded with new booking procedures and safety measures implemented to minimise the risk of infection and allow staff and visitors to feel safe and comfortable in our spaces. The timed exhibitions slots sold out well in advance and despite the restrictions on numbers in the galleries, we saw increased weekly visitor figures in comparison to the same period in the prior year. Our front of house volunteer programme was paused as it was not appropriate with the high levels of care required within restrictions, or to put volunteers at risk. We will be considering the best way to engage volunteers as we move forwards.

This period saw a renewed focus on Black Lives Matter, and we along with many other institutions have reflected on what actions need to be taken to address lack of representation and opportunity. This has included the publication of an anti-racism pledge and the creation of a new anti-racism working group. In addition, all staff have undertaken Unconscious Bias Training.

Three new trustees joined within 2020. Tia Counts joined in February 2020, bringing skills as Managing Director and the first ever Chief Diversity Officer for MSCI (previously diversity lead with JP Morgan) supporting the review of CAC practices and ambition to diversify our staff and volunteer team. Oluwatundunmininu (Tundun) Obidipe joined as our first Youth Trustee, recruited via our Youth Collective programme and with an interest in our developing community strand. Jonathan Simpson joined as our new Camden Councillor trustee, and with strong knowledge of the borough’s cultural infrastructure as chair of Cultural Camden steering group, and previous Cabinet Officer with responsibility for culture. We will be working closely with all trustees to plan our ambitions for the organisation to 2027 as we work towards a new National Portfolio funding application and working to the Arts Council England 10year strategy ‘Let’s Create’ with new investment principles.

As we move into the new financial year – one in which the current uncertainty and disruption will continue – we are taking appropriate steps to ensure we have maximised our financial stability and contingency, increased flexibility around possible further disruption to our operations and programmes, as well as seizing the opportunity to accelerate and amplify the urgent work necessary to address the growing needs within the sector, our audiences and local communities.

Our plans for 2021-22 will focus on consolidating our position as one of the best-loved and most highly respected visual arts organisations in the UK and a driver of the contemporary visual arts sector, with the aim to transition out of the pandemic with new learning and strengths. We will continue looking at opportunities to diversify income streams to become more sustainable and financially secure; research new programme strands and partnership opportunities; continue interrogating how we might change our structures and programme to make our organisation more diverse; concentrate on how we support UK based artists whilst continuing to ensure the internationalism of the programme; and strengthen our position as an exemplar of environmentally sustainable practice.

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Camden Arts Centre Trustees’ Report for the year ended 31[st] March 2021

Principal Activities/Aims and Objectives

Camden Art Centre is a place for art and artists, a place for the curious, the novice and the expert alike. It’s a place to see, to make, to learn and to talk about contemporary art, whether in our building, attending off-site projects or via our digital forums.

Camden Art Centre was originally built as a public library and now combines historic architecture with open, modern spaces, a café, bookshop and secluded garden, with free entry for all. Through our programme of exhibitions, learning, courses, events and residencies, we invite everyone to engage with art and the people that make it – to push boundaries and connect to their own creativity. Our off-site projects share our work with diverse communities and our digital, publishing and broadcast platforms help us connect art, artists and people in ever more immediate and interesting ways.

As a charity rooted in our North West London community, we foster a sense of belonging in our spaces. Working closely with local schools, community groups and specialist partners we nurture the next generation of artists, from early years to adulthood, enabling everyone to get up close to art, to meet artists and to make work themselves. Our targeted programmes and sector leadership increase our impact, bringing the arts to those most in need.

Much loved by our communities, for over 50 years Camden Art Centre has always worked ahead of the curve, giving early support and exposure to important artists from the UK and abroad including Martin Creed, Kerry James Marshall, Kara Walker, Sophie Calle, Yinka Shonibare, Mike Nelson and Mary Heilmann. We support artists at every stage of their careers, enabling them to make and show work that is relevant for today: brave, challenging, engaging and vital.

The Trustees believe that the continued commitment to education and accessibility at Camden Art Centre fulfil the Charity Commission’s requirements to give due consideration to Charity Commission published guidance on the operation of the Public Benefit requirement, including the guidance ‘Public Benefit: Running a Charity (PB2)’. The Board reviews the Centre’s aims and objectives in the light of this guidance.

Annual Review 2020/21

The organisation’s key objectives are:

These objectives are realised through Camden Art Centre’s activities and facilities, which include:

Our activity strands deliver against the following Arts Council England targets, and self-evaluation is used as a measurement tool across all areas of activity:

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Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

Talent Development Creative Case for
Diversity		 International Opportunity to
Experience and
Participate		 Depth and Quality of
Experience		 Increased Number
and Range of People		 Increased
Engagement with
the Least Engaged		 Audience
Development		 Digital Distribution Children and Young
People
Exhibitions
and Public
Programme		 √ √ √ √ √ √ √ √
Residencies √ √ √ √ √ √
Learning
Projects		 √ √ √ √ √ √ √ √
Courses √ √ √ √ √ √
Family
Activities		 √ √ √ √ √ √
Volunteer
programme		 √ √ √ √ √ √ √ √

Additionally, we review our organisational development against the criteria of resilience, environmental sustainability and equality.

Achievements and Performance

Exhibitions:

During 2020/21 our exhibitions programme involved the work of 89 artists from Britain and abroad over one exhibition slot, and one digital exhibition.

Our exhibitions programme was drastically curtailed in 2020/21 due to the restrictions applied to public buildings through tier and national lockdowns. We had planned to open The Botanical Mind: Art, Mysticism and The Cosmic Tree on Earth Day 22[nd] April 2020, but this was delayed until late September 2020 with further closures during the run of the show, and the exhibition was only open for 8 weeks in totality. Exhibitions of Walter Price and Olga Balema, originally planned for January 2021 were also postponed to May 2021. A digital walk-through video of the Vivian Suter exhibition which closed early in March 2020 was made available online.

With The Botanical Mind exhibition postponed in April, we created a new digital platform botanicalmind.online a complimentary online programme of new artists commissions, podcasts, films, texts, images and audio, expanding on and enriching the ideas and issues informing the show. Curated by Gina Buenfeld and Martin Clark, The Botanical Mind Online investigates the significance of the plant kingdom to human life, consciousness and spirituality across cultures and through time. Drawing on indigenous traditions from the Amazon rainforest; alternative perspectives on Western scientific rationalism; and new thinking around plant intelligence, philosophy and cultural theory, it took our programme directly to the homes of audiences at a moment when their mobility was limited yet the role of art felt more important than ever, and our connection with plants and nature was at the forefront. The online project has been enriched by leading voices in their specialist fields joining the conversation including Michael Marder, Rupert Sheldrake, John Dupré, Monica Gagliano, Brenda Danilowitz, Dr Stephan Harding, and Bernd Brabec De Mori, Terence McKenna. The Botanical Mind Online microsite had 88,804 viewings in 2020-21 and was shortlisted for Apollo Magazine’s 2020 Award for digital innovation of the year, alongside projects by Firstsite, Colchester, The University of Cambridge, and The Morgan Library and Museum, New York.

New digital commissions and online works were available from artists Adam Chodzko, Tamara Henderson, Ghislaine Leung, James Richards and Steve Reinke, Joachim Koester, Gemma Anderson and Kerstin Brätsch. The website also features archival material and new contributions from artists, musicians, writers and thinkers including: Carl Jung, Bruce Conner, Hildegarde of Bingen, Ithell Colquhoun, Hilma af Klint, Wolfgang Paalen, Brion Gysin, Philip Taaffe,

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Trustees’ Report for the year ended 31[st] March 2021

Matt Mullican, Giorgio Griffa, Joachim Koester and Stefan A Pedersen, Linder, Sarah Angliss, Kirk Barley, Sarah Angliss, , Simon Ling, Priscilla Telman and Vincent Moon, Jagadish Chandra Bose, Annie Bessant and Charles Leadbeater, Carol Bove, Andrea Büttner, Cerith Wyn Evans, Rachid Koraïchi, Penny Slinger, Fred Tomaselli, Delfina Muñoz de Toro, and others. A 17-minute introductory film written and narrated by the exhibition’s curators – Martin Clark and Gina Buenfeld and edited by Antonio Ribeiro has received nearly 15,000 views to date. The project forms an archive exploring ideas of plant sentience, indigenous cosmologies, radical botany, Gaia theory, quantum biology, and the influence of psychoactive plant medicines on various cultures and countercultures across the globe.

The Botanical Mind Podcast series was devised in conversation with The Botanical Mind exhibition curators and coproduced by Alannah Chance –audio producer at the Guardian since 2014, previously producer at BBC 6 Music. It featured several specialists from the botanical world - including Monica Gagliano, a scientist specialising in plant cognition; Gina Buenfeld discussing forms of indigenous plant healing; Dr Stephan Harding introducing Gaia theory; musician Sarah Angliss responding to the work of Hildegard of Bingen; landscape architect Céline Baumann expanding upon her ongoing research into queer nature; before closing with Ros Gray and Shela Sheikh who jointly discussed how planting was central to colonialism and explained why it is vital that we recognise the impact of colonial botany and plantation systems within an urban context. All of the podcasts continue to be hosted on The Botanical Mind Online microsite, and Camden Art Audio - a new content platform for Camden Art Centre accessed via iTunes, apple music and Spotify. The series of talks all featured the music of London based musician Kirk Barley; he was commissioned to create a new body of music that was reflective of the themes and structures evidenced within the exhibition. For the podcasts, Chance interweaved his music with the voices of the speakers to gently introduce complex and novel ideas regarding the intricacies of the vegetal world and latterly its relationship with the actions and interventions of humans. The podcasts have had a total of 9,738 listens to date and the series was mentioned on Architectural review and had BBC coverage as well.

The Botanical Mind project was inspired by the cosmologies of indigenous peoples in the Amazon Rainforest, in particular the Yawanawá, Huni Kuin and Shipibo communities. Our plans for artists from the Yawanawá community to travel to London and realise a site-specific artwork as part of the exhibition were cancelled due to the pandemic, but the online platform did provide an opportunity to profile their work through filmic documentation by independent filmmakers and sound-explorers Priscilla Telmon & Vincent Moon who spent time with the Yawanawá family in 2004, recording and filming their daily life in the rainforest.

Teresa Gleadowe – Director, CAST

“I’ve explored the site at some length and it’s full of beautiful things. Also watched the film, which is very good. The whole project is brilliantly timely and a really great example of making an exhibition work online - so much more sophisticated than anything else I’ve encountered.”

Beatrice Gibson - Artist

“Just wanted to say: spent a portion of my evening last night on the Camden website. The Botanical Mind online is the literally BEST THING ONLINE, at the moment. Such an impressive translation of an exhibition as well as its own thing entirely.”

Francesca Bertolotti-Bailey, then Acting Head of Programme at Kettle's Yard; now CEO Cove Park “I just watched the video on The Botanical Mind, wow, what an amazing teaser, trailer, companion, surrogate of the show it is. I was completely engulfed. I can’t wait to see the show.”

Vincent Moon and Priscilla Telmon - Artists

“No words to say how we are touched by the beauty and magic you made with this online exhibition. It’s fantastic. I’ve never seen anything like this – we are blown away. An amazing research, precise and so needed – to draw these lines of connection.”

Rebecca Birch – Artist

“I just spent a little time (but need to spend much more) on the Botanical Mind website, and I just wanted to say, WOW! Well done! This is immense! Such an amazing and fascinating and thoughtful collection of works and commissions. Super inspiring, and massively impressive breadth of research and ideas, the best exhibition I've seen, in the material world, or virtually in ages and ages and ages!”

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Trustees’ Report for the year ended 31[st] March 2021

Press highlights:

Apollo: When Camden Arts Centre was forced to postpone its spring exhibition, ‘The Botanical Mind: Art, Mysticism and The Cosmic Tree’, an ambitious online project was rapidly developed in its stead. ‘The Botanical Mind Online’ considers the spiritual significance of plant life with special attention to the effects of the Covid-19 pandemic on humanity’s place in the natural order.

Wallpaper: The Botanical Mind Online’ provides a space for personal engagement, and an arena for global, transcultural visions on the deeply rooted relationship between human and non-human life.

Hyperallergic: The online platform draws on perspectives that offer alternatives to Western rationalism: outsider artists and philosophers, Indigenous cultures from the Amazon rainforest, and recent investigations into plant sentience. As such, it hints that an understanding of the vegetal can help to challenge the destructive dualistic divides that characterize much Western post-Enlightenment thought.

Guardian: For [Clark’s] own institution, accommodating the conditions has meant launching an online version of a now delayed exhibition, The Botanical Mind – a site rich with texts, recordings and images, plus a new digital work by Adam Chodzko.

Artlyst – While The Botanical Mind: Art, Mysticism and The Cosmic Tree as originally conceived has been postponed, a new online project has been developed in response to the COVID-19 crisis and the closure of the galleries due to the pandemic. During this period of enforced stillness, our behaviour might be seen to resonate with plants: like them, we are now fixed in one place, subject to new rhythms of time, contemplation, personal growth and transformation. Millions of years ago, plants chose to forego mobility in favour of a life rooted in place, embedded in a particular context or environment. The life of a plant is one of constant, sensitive response to its environment – a process of growth, problem-solving, nourishment and transformation, played out at speeds and scales very different to our own. In this moment of global crisis and change, there has perhaps never been a better moment to reflect on and learn from them.’

In September 2020 we released a three-part podcast series What’s Love Got To Do With It? curated by Beatrice Gibson and produced by Alannah Chance. The podcasts were commissioned by Camden Art Centre, Bergen Kunsthall, KW Institute, Berlin, and Mercer Union, Toronto, to coincide with the launch of Beatrice Gibson’s new book Deux Soeurs which accompanies her 2019 touring exhibition initiated by Camden Art Centre, Crone Music . The series paired six contemporary poets discussing the topic of radical love: CAConrad, a non-binary poet from Pennsylvania spoke with LeAnne Howe, a poet and enrolled citizen of the Choctaw Nation of Oklahoma; awardwinning American poet Alice Notley shared a first-time intergenerational conversation with Precious Okoyomon, a New-York-based Nigerian artist, poet and chef; and the final episode featured friends, poets and educators Ariana Reines and Sophie Robinson. Released over three consecutive weeks the series made sonic space in which the poets shared, listened and responded to one another’s work. The series also featured unique musical compositions by Crystabel Riley and Seymour Wright. The podcasts were sited on the websites and social media platforms of all four commissioning institutions, as well as our Camden Art Audio platform on Spotify, iTunes and standard podcast platforms. This maximised their reach, and meant the series reached an international audience, with a total of 3,192 listens in 20-21.

On 24 September we were finally able to open the delayed exhibition The Botanical Mind: Art, Mysticism and The Cosmic Tree . The Botanical Mind brought together work by over 60 visionary, surrealist, modern, outsider, indigenous Amazonian and contemporary artists to reveal the ongoing significance of the vegetal kingdom to human life, consciousness and spirituality. Spanning more than 500 years and including historical and ethnographic artefacts, textiles and manuscripts, it looks both backwards and forwards, engaging with various cultures and wisdom-traditions to reappraise the importance of plants to life on this planet. The full list of artists included in the exhibitions is as follows:

Eileen Agar/ Anni Albers / Josef Albers / Gemma Anderson with Wakefield / Lab and John Dupré / Anna Atkins / Jordan Belson / Annie Besant and Charles W. Leadbeater / Forrest Bess / Karl Blossfeldt / Carol Bove / Kerstin Brätsch / Andrea Büttner / Adam Chodzko / Ithell Colquhoun / Bruce Conner / Das Institut / Mirtha Dermisache / Minnie Evans / Cerith Wyn Evans / Charles Filiger / Giorgio Griffa / Brion Gysin / Ernst Haeckel / Anna Haskel / Friedrich Wilhelm Heine / Tamara Henderson / Channa Horwitz / Textiles by artisans from the Huni Kuin (Kaxinawa) people / Carl Gustav Jung / Hilma af Klint / Joachim Koester / Rachid Koraïchi / Josef Kotzian / Emma Kunz / Yves Laloy / Ghislaine Leung / Linder / Simon Ling / André Masson / John McCracken / Henri Michaux / Matt Mullican / Wolfgang Paalen / Paul Păun / Steve Reinke and James Richards / Edith Rimmington / Daniel Rios Rodriguez /

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Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

Textiles by artisans from the Shipibo-Conibo people / Penny Slinger / F. Percy Smith / Janet Sobel / Philip Taaffe / Fred Tomaselli / Delfina Muñoz de Toro / Alexander Tovborg / David Tudor / Lee Ufan / Scottie Wilson / Terry Winters / Adolf Wölfli / Anna Zemánková / Henriette Zéphir

The exhibition was installed in a way that took into account Covid-19 social distancing guidelines, and with new timed entry slots and increased invigilation and front of house support. The opening was a huge success with all of the slots booked out for the first weeks, high demand for our limited walk-up places and an incredibly positive response from our visitors and across social media. Unfortunately, due to further tier and full national restrictions the exhibition was only able to remain open for 8 weeks, and during this time received 13,109 visitors.

Many of the works in the show reveal an encoded, vegetal intelligence inherent in plant forms – patterns that can be thought of as blueprints for the natural world. These same designs relate to an ancient metaphysics found across civilisations and through time – characterised by the connected principles of the micro- and macro-cosmos, sacred and fractal geometries, as well as the psychoactive visions induced by mind-manifesting (entheogenic) plant medicines.

The Cosmic Tree is a symbol that appears in numerous religions and mythologies, representing a pathway between worlds that is often also marked by the form of the serpent. The mandala is another universally arising motif that connects us to the universe through the image of a plant. Common to Indian, Japanese, Persian, Mesoamerican and European religions, mandalas are amongst the oldest spiritual symbols and act as aids to meditation, enabling transformative states of consciousness through the focus of the mind. Plants not only symbolise this cosmic axis and transformative potential, they embody it at the core of their being – performing a kind of everyday alchemy, transforming light from the sun into a limitless diversity of shapes, colours, forms and patterns.

Many indigenous communities in the Amazon rainforest have co-existed harmoniously with their environments for thousands of years; through an alliance with the forest itself and a way of life that is grounded in ancestral wisdom traditions and practical knowledge. They have developed a system of sacred geometries imbued with cosmological significance, derived in part from their visions and experience with powerful plant medicines, in particular, Ayahuasca. These kené (designs) are painted directly onto their bodies or reproduced as textiles or beadwork and the exhibition includes artefacts from the Shipibo-Conibo and the Huni Kuin peoples.

In the mid-twentieth century many western artists and writers began to explore eastern philosophy and mysticism, and to experiment with psychoactive, placing these ideas and experiences at the centre of the counter-cultural movement that swept across America and Europe. Nowadays, contemporary artists are re-engaging with both sacred and secular aspects of plant-thinking and being, finding in the plant kingdom new models for thinking about life and consciousness, as well as increasingly diverse ethical, social, scientific and aesthetic approaches to a morethan-human world. The Botanical Mind offers a glimpse into the boundless mystery, richness and cultural and spiritual significance of the vegetal kingdom and in doing so it invites us to reflect on our own relationship with plants – what they can teach us about ourselves, and how we might share our world with them.

We published an edition in our File Note series with a newly commissioned essay by acclaimed author Marina Warner. In it she reflected on how the exhibition had responded to “the urgent need to act now to realign human relations with the environment has changed traditional – so often dismissive – attitudes to ideas about the occult, consciousness, living matter, in short animism” at a moment in which “affinities between phenomena, intuited by so many belief systems, have long been side-lined in the hubristic Anthropocene; they are however returning vigorously in our era of environmental disaster.”

We also published a 232-page fully illustrated book to accompany the exhibition which has been extremely popular selling both in the building and internationally online, with two reprints made due to popular demand. The book includes essays by the curators and contributions from scholars on the key themes of the exhibition – alchemy, art history, plant ontology, Gaian ecology, anthropology and ethnobotany – unifying philosophical, scientific, spiritual and artistic approaches to meditate on the cosmic significance of plants in different worldviews.

A walk-through video was commissioned to enable greater access to the work for those unable to attend in person, which has been viewed over 3,000 time on YouTube to date.

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Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

Visitor Feedback:

Paul Johnson – artist (previous exhibitor at CAC) “I just wanted to say what an amazingly rich exhibition ‘the botanical mind’ is. It felt like a beautiful balance between research and artwork and with every turn in the gallery something magical happens. Congrats on an amazing show.”

Rachael Champion (previous resident at CAC)

“I want to let you know how much I enjoyed The Botanical Mind . It’s one of the most inspiring and innovative exhibitions I’ve seen in years.”

"It’s so wonderful that a small organisation like Camden Art Centre can show something so substantial, timely and poignant. Everyone needs to see this show, it speaks so much to our current circumstances"

"Such an incredible exhibition! The variety of media and perspectives in this show is amazing! We are really impressed with the quality of the exhibition, the organisation is doing brilliant work"

"I am so impressed with this exhibition! So nicely hung, brilliantly researched, the gallery guide is amazing too and we felt quite safe covid-wise"

"This is by far the best exhibition I've seen in years! At the level of Basquiat at the Barbican: it's outstanding"

Press coverage included:

The Guardian: Adrian Searle gave the review 3 stars - he thought the premise of the show was very good, with many strong and intriguing artists and works, stating ‘Almost every work demands a great deal of unpacking… [in this] frequently fascinating exhibition’.

Aesthetica magazine: included a beautiful feature, with a curatorial write up by Gina Buenfeld: ‘There has never been a more important time to consider our relationship with the environment. Camden Art Centre’s new show, The Botanical Mind, looks at the links between plants, humans and the universe – revealing the connections that bind us across 500 years of art.’

I News: ‘20 best art shows and museum exhibitions 2020, from Gormley and Gentileschi to Grace Jones: A show melding two themes: mysticism and ecology. Plant intelligence – real and mythic – is explored through the art of many cultures.’

FT Weekend: Martin Clark was interviewed in relation to the exhibition on a feature on art and mysticism by Francesca Gavin, for The Financial Times.

Vogue: It was listed as a must see in both British Vogue, 5 ways to treat yourself this week’ and World of Interiors.

An Instagram takeover of our account by author Stephen Ellcock produced 12 posts, also shared on his account, which directly resulted in an increase of 4,073 followers and 150 catalogues sold. Residencies:

Our residency programme provides a nurturing and enabling environment for artists to develop their practice and share this more broadly. It continued into its 31[st] year, albeit with some adjustments due to the pandemic.

Our Freelands-Lomax Ceramics Fellowship was due to continue with Berlin-based Jesse Darling who commenced their residency in January 2020 with plans to extend through the full year to allow for maximum flexibility around childcare needs and provide rare time and space for in-depth research and thinking, as well as for production in the ceramics studio. Due to restrictions during the pandemic however, and on request of the artist this was postponed until summer 2021. However, Freelands Foundation generously extended their funding to include an additional ceramics residency for 2020-21 which was awarded to Phoebe Collings-James. Commencing in October 2020 it enabled us to offer support to a London-based artist during this difficult year and ensure that our ceramics facilities were accessible and used while our wider public programmes were on hold.

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Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

Phoebe Collings-James works across sculpture, video, sound and performance. Her works function as what she calls “emotional detritus”; they speak of knowledges of feelings, the debris of violence, language and desire which are inherent to living and surviving within hostile environments. Following the December lockdown, her onsite residency was put on hold until April 2021 during which time she started to develop her public programme events which have taken the form of a two-part series Stop Making Sense, and an offsite element of her residency at The Leach Pottery in Cornwall in April 2021. She also led a Youth Collective zoom workshop in March 2021 showing the young people how she throws pots and how she makes and develops ideas for her wider practice. Her recent work has been dealing with the object as subject, giving life and tension to ceramic forms. During her residency, she will continue her study of ceramic form through an engagement with tenderness, eroticism and the haptic nature of clay.

Unfortunately, other residency opportunities such as our Youth Residency, our Family Artists in Residence and our PEER Forum programme were not possible to deliver in 2020-21 due to the extended periods of building closure.

Public Programme:

Our Public Programmes were similarly affected by the pandemic due to restrictions on public gathering, and we transitioned our programme online in order to continue delivering programmes to as wide an audience as possible and support creative practitioners during this difficult period. Our Public Knowledge programme was initially devised and initiated in late 2019 as a space for knowledge production and exchange through informal or experimental presentations, discussion, and performance between creative practitioners including artists, musicians, filmmakers, and writers from diverse cultural backgrounds. The pandemic necessitated a reappraisal of how Public Knowledge could exist and remain accessible with a more experimental approach, and the Camden Art Centre website became a digital publishing platform with emphasis on redirecting audiences to existing sites of distribution such as Soundcloud, YouTube and Camden Art Audio - a new content platform for Camden Art Centre accessed via iTunes, apple music and Spotify. The Public Knowledge content generated through the year had 8,670 listens/views.

During April 2020 The87Press presented a programme of poetry written and read by Sascha Akhtar, Banu Khapil, Mira Mattar, and Peter Gizzi. The87Press is a publishing collective, who since their inception in 2018 have actively advocated for writers from under-represented and minority groups.

In May 2020 Ignota Books, in collaboration with Camden Art Centre, and Haus der Kulturen der Welt (HKW) published a four-part series of sonic responses to visionary author Ursula K. Le Guin. She tells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination. The series has commissioned new contributions international artists and musicians including Laurel Halo, Elysia Crampton Chuquimia, Jenna Sutela and Victoria Sin.

In June the South-East London based artists-led collective entitled F(r)ictions were invited to present a programme of experimental film and video work, making room for imperfections, unfinished work, left-field pieces, and DIY work. F(r)ictions focuses on hosting queer, feminist and racially diverse work. It presented three screenings throughout June featuring artists from across the UK that includes April Lin, Joanne Lee, Katerina Mimikou, Morisha Moodley, Nicky Chue & Florence Low, Anuka Ramischwili-Schäfer, Edmund Hardy, Summer M, Sam Lanchin and Rehana Zaman.

The July episode published a new commission entitled Face2Face by electronic music artist, DJ, producer and publisher Lee Gamble. This new sound work was created in the style of a ‘film essay’ and was constructed from ‘truths, half-truths, artificially generated emotion, lies, A.I music, doppelgängers, AI-generated news feeds, mimicry and deep fakes. As a means to articulate the digital entities designed to transform and confuse society during this prolonged period of ‘Fake News’ and the late capitalist concept of ‘Accelerationism’.

In August we published The Self-Enquiry Inquiry Commission , a new commission made by Nervemeter – a magazine is sold on the streets by homeless and vulnerably housed people mainly in London, Manchester and Glasgow. The content of the episode sought to sonically articulate the ‘current moment of mass upheaval which has exposed the complex, corrupt and conflicting influences that define and undermine every single aspect of our lives’. Collated digital recordings were transposed by the Nervemeter ‘Select Committee’ to create ‘a history of the present’ or ‘a history of truth’ with the ambition to articulate and scrutinise uncomfortable aspects of life.

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Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

For September’s episode of Public Knowledge, We Are Publication, a collaborative artist led project featuring Jonathan Allen, Volker Eichelmann, Rachel Cattle, Jenna Collins, John Hughes, Christian Newby, and Andrea Stokes, presented Placement does not explain, but cultivates a September garden . The presentation comprised of a video and experimental piece of writing that sought to abridge the writing of contemporary American poet Rosemarie Waldrop, whose recent appellation ‘gap gardening’ refers to the productive interstices between words, and between worlds.

For the period of October and November the Public Programme delivered a new strand of exhibition related talks entitled Conversations. This featured Martin Clark in conversation with Plant philosopher Michael Marder and Gina Buenfeld in discussion with artist Tamara Henderson. These had 321 listens.

From October and running parallel to the exhibition related programme we delivered two monthly instalments of Public Knowledge each comprising of three episodes which have been developed with Arts of the Working Class (AWC) and Verso Books, followed by a film programme with Delhi based curator Nancy Adajania. The programme with Arts of the Working Class was called The New Radical and featured Aaron Bastani, Maya Goodfellow and John Merrick in dialogue with Alina Kolnar, founding editor of AWC to discuss the term ‘radical’ means today.

This series was followed in November by an online screening entitled Zigzag Afterlives: Film Experiments from the 1960s and 1970s in India, which comprised of a number of rarely seen films by artists and filmmakers including Akbar Padamsee, P Mansaram, Nina Sugati SR aka Nina Shivdasani Rovshen and Kumar Shahani. This was programmed to accompany the offsite exhibition developed in partnership with Brent 2020 by Paul Purgas called We Found Our Own Reality . It sought to contextualise the unacknowledged histories of collaboration and experimentation in India at this time against a backdrop of nationalism and anti-colonial struggle, global counterculture, the student and civil rights movements, and the Cold War. The programme was repeated across the weekend of the 30-31 January 2021 to mark the close of Purgas’s exhibition, which will tour to Tramway, Glasgow later in the year.

The December episode of Public Knowledge also featured historical moving images works, including David Lamelas’s film A Study of Relationships Between Inner and Outer Space , which was originally commissioned by Camden Art Centre in 1969. The programme was organised by Adam Harrison aka Studio for Propositional Cinema, and presented as NOT MADE? NOT CHOSEN? NOT PRESENTED?: 3rd Studio for Propositional Cinema Film Festival. It featured experimental audio works, film, video and poetry by historical and contemporary artists such as Cally Spooner, Julia Scher, Sung Tieu, Irene Haiduk, Lydia Ourahmane, Luzie Meter and Keren Cytter among others. It was influenced by the work of Italian Arte Provera artist Emilio Prini, who’s practice actively resisted traditional modes of engagement and consumerism, which felt apt given the length or the programme and the time of year. For the February episode of Public Knowledge, the programme focused on Flock Together, a bird watching collective for people of colour. It featured co-founder Nadeem Perera discussing issues regarding access, cultural role models, and urban infrastructures of control alongside detailed information about how birds communicate with one another while walking through Hackney Marshes. It also featured the music of Parris, who adapted a number of his tracks for the recording.

In March we delivered a three-part presentation by The87Press (Azad Ashim Sharma and Kashif Sharma-Patel) entitled Notes on Radical Inclusivity, Diaspora, and Poetry. This was in partnership with Camden Art Centre and poet-scholars Nat Raha, Nisha Ramayya, Callie Gardner, James Goodwin, Sarona Abuaker, and Dom Hale. Over its course, we discussed the legacies of cross-cultural and intersectional anti-racist activisms, critical theory and how those legacies impact the future of publishing in the UK.

Community Learning:

Our learning programmes aim to be inclusive and representative of artists and participants from a wide range of social and cultural backgrounds, and embeds talent development, diversity, in-depth engagement and children and young people quality principles across the whole programme, with a key strategic aim to ‘nurture talent of young people’, and ‘nurture life-long enjoyment of contemporary visual arts’. The learning programme was heavily affected by the pandemic, with a pause on our primary school programme as this would have necessitated a new partnership from autumn 2020, and our courses for adults and children paused for the entirety of 2020-21 due to continued social distancing requirements and building restrictions. We did however adapt our Youth and SEN Schools programme supporting participation remotely, with online safeguarding measures put in place.

The learning team spent the first month of closure on a on a period of research, gathering feedback from our audiences to better understand need as a basis for developing our new programme. This research demonstrated

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Trustees’ Report for the year ended 31[st] March 2021

that young people, families and schools wanted to stay connected to Camden Art Centre, our artists and wider community and continue accessing creative opportunities but gave clear guidance for how we might deliver this in ways which met their current needs.

In May 2020 we launched our pilot digital learning programme, with the aim to continually reflect, develop and evaluate to inform our future working methods and approach.

To culminate our Primary School Project and working with artist Lucy Joyce we created a digital publication, showcasing the pupil’s slogans from school workshops before lockdown, which became even more relevant. Slogans referenced the world we live in, and over the academic year had told the story of bush fires, extinction rebellion, climate change and most recently Coronavirus. A series of resources with prompts for action through talking, writing, making or performing was sent to each pupil’s home, including a postcard (with stamp) displaying a pupil slogan to post to a friend or family member they are socially distanced from.

Youth Collective Online:

Youth Collective Online is a space for young people aged 15-24 to meet regularly and encounter the arts in an open and welcoming environment, to critically engage, feel empowered and stay connected.

From May 2020 we held weekly artist-led sessions on Zoom, which were available for young people to sign-up to that had attended previous Youth Collective sessions since September 2019. The sessions were complemented by a series of creative crits and support for self-guided making, and utilised by an online sharing platform called Discord, for attendees to connect and collaborate outside of the weekly sessions, mediated by a member of the learning team.

In place of the annual Youth Collective Curates event, which had to be cancelled due to the pandemic, we invited artists from the current cohort, along with those from the past five years of the project, to submit content to create an online archive of this time ‘Collective Lockdown’. While the content represents individual experiences, together it captured a moment, which felt familiar and shared among the Collective and beyond, featuring images, songs and words.

Learning from our pilot programme we made the decision to continue offering online artist–led sessions through autumn with a key focus around how to build an artist practice with a DIY approach that felt accessible and acted as an alternative art educational experience. Participation was open to anyone aged 15-25, and participants were given the opportunity to learn new skills and techniques allowing them to build a greater understanding of how to become an artist and contextualise a creative practice. Some workshops included:

Edward Ball: Ways of Curating – Questions and Connections; Jessica Ashman: Animation – Frame-By-Frame Memories; Emily Mulenga: Digital Collage – Past, Present and Future; Shaun C. Badham: Unusual Rules for Making; Deborah Findlater: Experimental Filmmaking; Lucy Joyce: Ask an Artist – Creative Opportunities; Shepherd Manyika: Sampling, Sound and Video; Adam Moore: Performance – What’s the gesture?; Phoebe Collings-James – Virtual Studio visit – Ceramics.

These sessions have covered discussions and practical activities whereby young people have learnt; sketchbook development, how to begin making performances, how to create short animations, using editing software to make digital collage, filmmaking and methods in narrating, and ways of entering a curating and developing creative connections to support. We received feedback that indicated strong engagement and a great level of impact. We also understood that during the pandemic a lot of young people were facing challenges that meant they had other competing priorities to focus on, particularly around employment and education, and experiencing mental health issues and online fatigue. Conscious of this, we were careful in the duration of sessions, creating short and succinct workshops with an impetus on depth over breadth.

In April 2021 we launched a digital publication titled Near and Far, an anthology of creative writing presenting the work and voices of Camden Art Centre’s Youth Collective Online community; a group of artists, writers and creatives aged 15- 25 that have connected with Camden Art Centre, and each other, from their homes across the UK and internationally during the past year.

An overall audience figure for the 20-21 academic year is 195, with an average attendance of 13 per session. 31% joined the Youth Collective Discord platform. 72% were from our target audience, 29% were people of colour, 49% live in the most deprived areas (ONS deprivation deciles), 50% from Greater London, 33% UK outside of London and 8% are international.

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Camden Arts Centre Trustees’ Report for the year ended 31[st] March 2021

Feedback:

Families:

In late May we launched #CamdenFamilyArtClub with fortnightly activities released on Fridays by our Digital Family Artist-in-Residence Renata Minoldo. Minoldo was due to lead family activities alongside The Botanical Mind exhibition and following our research findings we decided to bring the programme online. Activities explore our connections to the natural world as well as rethinking the home spaces we were confined to. Through her residency Minoldo created a series of 9 activities launched fortnightly linking to The Botanical Mind exhibition, exploring plant life, dreams, and transforming spaces in the home, with 1,857 downloads.

Alongside The Botanical Mind exhibition in September, we commissioned five artists to create a series of exhibition activities alongside their own work and themes present in The Botanical Mind. These explore foraging, sound, language, drawing and meditation, and enable us to connect with the works in the exhibition and the world around us. These were created by artists Adam Chodzko, Delfina Munoz de Toro, Rosalind Fowler, Gemma Anderson and Lateisha Davine Lovelace Hanson, shared through our website and the Bloomberg Connects application. These were interacted with 1,007 times.

We have been working in partnership with JW3 to create ‘Family Art Club’ packs to be shared through food parcels sent by JW3’s food bank. These go to 80 local families that have been referred via Doorstep Homeless Families project and Camden Council. The packs included simple materials that could be used to make artworks, but also support home learning with essential items like paper, pencils, crayons etc. We added prompts for creativity, with simple ideas of artworks that could be made and shared.

SEN Schools Programme:

Camden Art Centre’s Special Education Needs (SEN) School Programme works in collaboration with young people, teachers and artists. The project addresses the lack of access for people with learning disabilities to creative experiences, learning and careers in the visual arts. It aims to increase creative opportunities for people with profound and multiple learning disabilities; to foster a sense of belonging at the centre and to encourage confidence and independence through collaborative activities that champion all forms of communication and self-expression.

During the 2020/21 academic year artists Evan Bond, Lydia CS and Natalie Zervou-Kerruish worked with 19 young people from Shaftsbury High School and Oaklodge School across the boroughs Harrow and Brent. Due to the ongoing global pandemic this year’s programme was delivered online via zooming into the classrooms working collaboratively with the teachers to deliver sessions from November 2020. 100% of the participants are considered to have a disability and have a statement of Special Educational Needs.

Building on the research and learning around accessibility and online provision we had undertaken in spring 2020, we have been successful in translating artist-led workshops into a digital programme for the schools. This coincided with launching the digital publication titled I can only dream of living things being made out of letters , which was the outcome of a series of online artist meetings that took place during Spring and Summer 2020, This interactive PDF has been a valuable resource to share with peers, artists and SEN schools allowing us to extend our reach through digital dissemination, increase visibility and share best practice as an institution.

The transition to a digital programme was greatly welcomed by the schools after such a hiatus, allowing the project to continue despite restrictions. The students and teachers embraced this new experience, with many students not

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Trustees’ Report for the year ended 31[st] March 2021

having access to creativity and sensory activities. The chapters which were featured in the digital publication acted as a framework and informed the workshops including themes such as communication, translation, language & feeling, gesture, movement, symbolism, nostalgia and dreams. Some activities included collective dream making, inventing new letters and making flags for reimagined worlds.

Our second partner Oaklodge School asked for a term without workshops, as they wanted to ensure consistency and behaviour management of the students after school closures. In place of this, we asked the artists to create a series of recorded activities for the schools to use with other classes, and if any students needed to isolate at home. These have been welcomed by the schools and placed on the CAC website to enable us to share with wider audiences.

Alongside the workshops the artists delivered 3 online teacher training sessions. Sharing their plans to demonstrate making has meant an increased confidence and enthusiasm, allowing teachers to bring the artists ideas to life within the classroom setting. This has created a deeper understanding of each other’s ways of working, positively dismantling an artist practice and carving a space for a more meaningful collaboration. It’s been noted that the workshops have had a positive impact on teaching practice with learning happening from the project and being transferred with students from other classes.

Audience Development:

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opportunities this brings to develop our digital relationship with our audiences, gather greater audience and customer data, and improve the efficiency of our systems.

2020/21
(Target)		 2020/21
(Actual)		 Notes
Engagement and reach
Visitors 23,500
(adjusted)		 13,109 The 2020/21 target was adjusted based on forecast
figures from September opening. However national
restrictions meant we were only open for 8 weeks
Print and digital
articles (number)		 60 29 Impacted by pandemic, with only one exhibition
open within 20/21
Digital Engagement and widening of debate
Website All Visits
Botanical Mind
Microsite
Total		 241,822 207,467
88,804
296,271		 Website visits impacted by pandemic and building
closure, but positive engagement with our microsite
with digital commissions.
Twitter, Facebook,
Instagram		 144,553 149,846 8% increase on prior year figures.
Social media
engagement:		 61,180 93,468 There has been an adjustment in data collation via
Hootsuite. Transitioning to ‘engagement’ category
rather than individual likes/shares.

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Trustees’ Report for the year ended 31[st] March 2021

Upcoming Activity

Exhibitions and Residencies:

The exhibitions programme structure is being amended for 2021-22 with three exhibition seasons rather than four of around 14 weeks each, to allow for greater flexibility to manage any social distancing requirements or further periods of closure. This will commence with the first major institutional exhibition in the UK by New York-based artist Walter Price (b. 1989 USA) following his studio residency at Camden Art Centre in early 2020. His exhibition will incorporate elements of the body of work he made in response to his time in London with a group of new paintings and works on paper made during lockdown in New York. This will be shown alongside a major new commission by New York-based artist Olga Balema (b. 1984 Ukraine) responding to the iconic architecture of Gallery 3. We will also host an exhibition by Steffi Klenz as part of Camden Alive, a programme of arts and cultural events that celebrates the people of Camden and co-funded by Camden Council.

We will then open three exhibitions, Phoebe Collings-James, Adam Farah and Zeinab Saleh from September – December 2021, alongside a new programme One in the Other funded by Arts Council England Lottery grant. All three artists benefit from undertaking a residency in advance of their exhibitions, allowing them to further develop their work. Jamaican-British artist, Phoebe Collings-James (b. 1987 UK) is our current Freelands Lomax Ceramics Fellow and is developing work for this exhibition in our ceramics facilities during a six-month residency. Jesse Darling will commence their ceramics residency in the summer, having been postponed due to the pandemic.

Adam Farah (b. 1991 UK) and Zeinab Saleh (b. 1996, Kenya) have six-month residencies in partnership with Metroland Studios and supported through the One in the Other programme. Farah is an artist born and raised in London. This exhibition will draw from their current research, constructing and deconstructing poetic narratives that emerge from lived encounters with the urban environment. Saleh is a Kenyan-born, London-based artist whose interdisciplinary practice takes the form of painting, drawing, video and sculpture. Drawing on VHS tapes of home video footage and music that has personal significance to her, Saleh’s workplaces personal histories at its core.

The One in the Other programme of events will extend and build on ideas and themes running through the exhibiting artists’ work and will be devised and delivered by artists and creative practitioners in our Gallery 3 space. It has been developed in response to the need to support creative practitioners during the post-Covid climate, encourage audiences back into our building and onto our digital platforms, and with a focus on platforming diverse and under-represented communities and voices.

We will complete the financial year January – March 2022 with an exhibition by Julien Creuzet (b. 1986 France), a French-Caribbean artist and poet living and working in Paris and the third recipient of Camden Art Centre’s Emerging Artist Prize at Frieze. This will be his first UK institutional show, presenting his multi-disciplinary practice which combines video, sculpture, poetry and music.

This will be shown alongside London-based artist Allison Katz’s (b. 1980, Montreal, Canada) exhibition, her first institutional solo show in London. Camden Art Centre has a reputation for platforming artists at critical moments in their careers, when the exposure to London and international audiences has the most impact on the trajectory of their practices. Since graduating with her MFA from Columbia University, New York, Katz has worked consistently to establish a reputation as one of the most exciting painters of her generation. In 2020 she was shortlisted for the Max Mara Art Prize for Women and is represented by leading gallerist Luhring Augustine in New York and has exhibited widely across the European institutional scene – in exhibitions at the Museum of Modern Art in Warsaw, Warsaw, Bonner Kunstverein, Bonn, Germany; Kölnischer Kunstverein, Cologne and at MANIFESTA 13, Marseille. This moment marks a surge of attention on a UK stage – between 2019 -20, she was included in the seminal group exhibition curated by Martin Herbert, Slow Painting , which toured between Hayward Gallery, London, England; Leeds Museum and Art Gallery, Leeds, England; The Levinsky Gallery, University of Plymouth, Plymouth, England, and later in 2021 her work will be exhibited as part of Mixing It Up: Painting Today , at Hayward Gallery 2021. The exhibition at Camden Art Centre builds the exposure of her JPR monograph published in 2020 and this recent exhibition history, to foreground the artist’s radical thinking about the practice of painting, and its presentation across an ambitious, and highly inventive, installation. The exhibition is a collaboration with Nottingham Contemporary.

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Trustees’ Report for the year ended 31[st] March 2021

Public Programmes:

Due to limitations on public gathering, our public programme is continuing online for the early part of 2021-22 through digital means such as Camden Art Audio, and content hosted by SoundCloud and YouTube and embedded on the Camden Art Centre website. This includes our programmes Conversations and Public Knowledge . The Public Knowledge programme will include:

We will be introducing two live events under the banner of Garden Nights in the garden of Camden Art Centre in July/August. The opening event will be a live music event in collaboration with 33-33 featuring Still House Plants, followed by a film screening of 16mm films by Nathanial Dorsky organised by Olga Balema and Will Rose.

We commenced a collaboration with the Royal College of Art in May, with an online project with Curating Contemporary Art students In the Meantime , presented as an interactive publication engaging with the different hidden or unheard stories within Somers Town. The partnership will continue into the next academic year with the development and presentation of a project that responds to a brief initiated by Camden Art Centre. The brief will pinpoint themes prevalent in the forthcoming exhibitions programme.

We will also be presenting a three-part podcast series Earth and World as part of our Freelands Lomax Ceramics Fellowship, taking an expanded view on clay as an earthly material. Examining the politics of geological narratives and the agency of minerals, it reflects on humanity’s fundamental and interwoven relationship with the earth.

Learning Programmes:

The Learning programmes continue to be heavily affected by the pandemic with restrictions on numbers of people gathering physically within one space. We have continually reflected, developing and evaluating our delivery in 2020-21 to inform our future working methods and approach, as we plan for the transition back to onsite activity where possible.

We are planning towards reintroducing onsite learning activity across all our learning programme from September 2021, but with some online activity retained where this has proved beneficial or enabled us to extend our reach. The learning team has been restructured in 2021-22 to two curators, one focused on Children and Young People, and the other on Community and Courses. The latter is a new post commencing late August, and it is intended that new programmes will be piloted over the remainder of the year, with a view to formalising partnerships and programme strands for 22-23 and beyond.

The academic year culminates in an exhibition of the SEN students work in our Artist Studio in July 2021 and a celebratory workshop with students from Shaftsbury High School enabling them to partake in an onsite sensory artist workshop to engage with their show. We are now working with ActionSpace to support artist Evan Bond back to onsite sessions, with more of a blended approach to meetings moving forward, with some online between the artists planning and teachers.

We will continue to be responsive and reactive to the needs of young people in this current time. Given this broader landscape we will introduce a programme called ‘Transformative Futures: A syllabus for re-building, reclaiming space and taking action’. This programme offers an opportunity to learn new skills and approaches to art making that will support young people facing challenges in a post-covid environment. This platform provides a safe space to question, develop and engage with new ways of working to mobilise creative futures.

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Trustees’ Report for the year ended 31[st] March 2021

We are recruiting an exciting new strand of the Youth programme, a Youth Panel consisting of 5 committed participants who will meet every 6 weeks and inform out planning around the programme and ensure peer-led activity to co-produce. This is a paid professional development opportunity for the young people we work with to learn about arts programming and project coordination.

Fundraising

After a year of significant disruption, we will resume grant seeking from Trust and Foundations towards our adapted learning offer, public programmes and (where possible) towards core staffing and operational costs. We will continue to maintain close relations with our individual members and donors; rolling-out our new patrons offer, making full use of digital communications for member events, and refining the articulation of the charity’s funding needs (online and in the gallery) to underpin both small-scale and major gifts fundraising. We will undertake detailed preparations for our next Artists for Artists gala, now scheduled for Spring 2022. Though we will not award a Camden Art Centre Emerging Artist Prize in 2021, we will steward our current Prize Supporters through the coming year as we prepare to resume the annual prize in 2022. Building on our new hires contracts, we will continue to work closely with Cantine to support the offer of catered hires packages for the café and garden, undertaking a review of our hires regime at the end of 2021. Based on our new business plan, we will develop a new Case for Support to underpin future fundraising and work with our Trustee Fundraising Working Group to renew our Ethical Fundraising Policy.

Finance review

The Charity’s activities were impacted significantly by the pandemic, being open to the public for only 8 weeks in autumn 2020 due to national restrictions. It was reliant on support from government through the Cultural Recovery Fund grants from Arts Council, furlough scheme and business rates relief to ensure continued viability. We ended the year with an increase to free reserves of c. £100,000 due to reductions in expenditure combined with government support and additional fundraising, which helps to increase free reserves and manage future potential uncertainties as national measures evolve.

The accounts show an increase in unrestricted funds for the year of £168,000. This included net income of £50,000 (including an increase in donated stock of £47,000) and a £106,000 transfer from restricted Cultural Recovery Fund grant provided by Arts Council England to support activity in year. There was also a planned increase in designated Audience Development fund of £20,000.

The Trustees have reviewed our reserves and cashflow position and remain fully aware of the need to protect our funds whilst ensuring that the key charitable objectives are fulfilled in the short and medium term and increase participatory activity as national restrictions reduce. It is recognised that fundraising is becoming increasingly competitive and that in the economic climate it is necessary to work even harder to maintain productive relationships with all funders and donors, to review our operating models, and to continue diversifying income particularly from individual giving and earned income.

Income generation

During the year, Camden Art Centre relied upon a range of external funding sources in order to achieve the Centre’s objectives. Many donations were to directly support an exhibition or education project, or to support the organisation through the circumstances of the pandemic, and the Arts Council England support continued to be a major source of income supporting the overall running costs of the Centre.

Total turnover of £1,812,000 was 12% (£250,000) lower than the previous year due to reductions in fundraising events (of £120,000), donated artworks (£103,000) and grants & donations (£50,000). The largest source of income remained Arts Council England funding (£1,042,000, which included additional Cultural Recovery Fund grants of £106,000). Total Arts Council England grants represented 58% of total income compared to 45% in 2020. The Charity was also in receipt of government furlough scheme grants of £149,000.

Income from other trading activities of £128,000 (2020: £237,000) is represented mainly by the stock value of donated artworks. Other earned income included bookshop sales of £10,000 - this was £58,000 lower than in the prior year due the pandemic.

The café is currently franchised and has no financial impact on our income generation, nor does it represent a financial risk.

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Trustees’ Report for the year ended 31[st] March 2021

Restricted revenue income for the year totalled £454,000 (2020: £302,000), mainly comprised of:

Grants and donations £429,000 (2020: £238,000) Exhibitions income £25,000 (2020: £62,000)

Restricted grants also included Cultural Recovery Fund grant from Arts Council England of £106,000. Trusts and foundations income is also raised towards our education, exhibitions, residency and public programmes, and individual donations towards our exhibitions and education programmes. Trust income includes three-year grants from Freelands Foundation towards our Freelands-Lomax Ceramics Residency, John Lyon’s Charity towards our Education Programme and the AKO Foundation. We also benefited from individual donations totalling £40,000 towards our exhibitions programme including the Emerging Artist Prize in partnership with Frieze and £31,000 in relation to the Walter Price exhibition - both to be spent next year. During 2020/21, additional corporate donations totalling £60,000 were received from Bloomberg and JW Anderson.

We also received £25,000 (2020: £16,000) in-kind donations relating mainly to advertising, transport and a waiver of a loan fee relating to artworks.

Expenditure

Overall expenditure saw a year-on-year reduction of £438,000 (20%). Of this, £300,000 related to reduced direct costs (relating to exhibition and education programme activity which was impacted by the pandemic).

Reductions in property costs of £45,000 included a business rates rebate provided by government through the package of government Covid-19 support, and some cost savings associated with reduced use of the building. There were also reductions of £37,000 in marketing & advertising spend, office costs (particularly fundraising expenditure and irrecoverable VAT) of £27,000 and £20,000 to staff costs relating to reduced overall levels of activity in year.

Reserves Policy and Going Concern

Camden Art Centre aims to have a general reserves pot to cover 3 months operating costs (currently calculated at around £280,000). In 2018-19 we designated £75,000 towards Audience Development initiatives of which £62,100 remains (after an additional £20,000 was transferred from general funds in year). We also designated £60,000 towards a building fund which allows for repairs and maintenance to the building the Centre is housed in.

The general reserve is intended to cover potential fluctuations in income as expenditure over the years is planned to remain relatively stable, although an element of forecasting uncertainty remains as the Charity emerges from the impact of the pandemic. The additional free reserve amount (of £38,000 above target) will be available to assist the Charity in managing this.

The current general reserves position is:

Total unrestricted reserves
Add back pension liability
Less designated funds
Less donated artworks for resale
General funds
Less unrestricted fixed assets
Free reserves		 £
804,993
106,369
(122,100)
(442,115)
347,147
(29,183)
317,964

The proceeds of our Artists for Artists fund auction in 2016-17 which raised £284,000 are restricted to support artist-led projects, commissions and residency programmes that will enable artists to continue to take risks with new ideas and to push the boundaries of their own practice. This fund will be drawn down over a 10-year period,

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with the intention to continue adding to the fund. In 2020-21 income was applied to The Botanical Mind , and The Botanical Mind Online . The fund currently stands at £149,540.

The Restricted Capital fund represents grants received in previous years for building works, which are held in reserve and reduce as annual depreciation is charged against them. This fund is the only fund which holds significant tangible fixed assets.

Trustees have reviewed our financial position in relation to the impact of Covid-19 on current and future operations. A review of cashflow, secure income, reserves position and budget reforecasting means that at the time of writing there are no material uncertainties regarding the charity’s ability to remain a going concern. However, we continue to monitor this closely and to review the long-term impact and any necessary adjustments to mitigate against this. We continue to work on the renegotiation of the lease for the Centre with London Borough of Camden.

Risk management

The key risks to the Centre are financial, strategic and reputational. The Board is focussed on the financial and strategic risk whilst the reputational risk is mitigated through the programme as outlined in this report. The risk register was updated and approved by the Board on 12[th] October 2020.

As the organisation responded to the COVID-19 pandemic, communication between management and trustees was frequent in order to ensure we took timely and appropriate actions.

This included:

Moving our systems to remote working; monitoring of reserves, cashflow and reforecasting budgets for current and following years; taking opportunity of government relief packages such as Business Rates relief and the furlough scheme; moving elements of our programme online to continue to benefit our communities; making applications for funding specific to necessary adaptions to programme and operations including pandemic specific.

The principal risks and uncertainties currently relating to the organisation are:

These risks are managed through regular and targeted trustee engagement (including through our Finance and Operations Committee and Fundraising Working Group) maintaining tight cost control and efficiencies, taking action in a timely manner, and long-term programme and budget planning to ensure we adapt and evolve, maximise fundraising and communications campaigns.

Structure, Governance and Management

We benefit from core funding as an Arts Council England National Portfolio Organisation from 2018-22, with the funding period extended by 1 year to 2022-23 allowing for adjustments to Business Plans reflecting the changed climate in which we operate due to the Covid-19 pandemic. We provided an updated Business Plan for 21-22 to ACE in March 2020, and will continue to refine our Business Plans for 22-23, and towards our NPO funding application for 2023-2027 in line with Arts Council England timelines and our own planning objectives. We will focus on reviewing our operating models, opportunities for partnership working, audience development, diversifying income generation, and improving evaluation to further demonstrate our impact.

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Camden Arts Centre Trustees’ Report for the year ended 31[st] March 2021

Governing Document

Camden Arts Centre (legal name) is a company limited by guarantee (number 02947191) and is a registered charity (number 1065829) governed by its Memorandum of Association, incorporated 11 July 1997 and amended by special resolutions dated 26 January 1999 and 9 November 2009.

Our objectives:

The objectives are to advance the education of the public in the understanding and appreciation of the arts. The charity operates Camden Art Centre, north London's leading venue for contemporary visual art of regional, national and international significance incorporating galleries for temporary exhibitions, studios and workshops for educational activities.

Recruitment and training of Trustees

New Trustees are inducted and given training appropriate to their knowledge and ability. In addition, all Trustees are issued with a copy of The essential guide to being a Trustee and provide information for their registration with Companies House. Conflicts of interest are registered during Board meetings. Trustees are offered the opportunity to attend training as appropriate.

Board Development:

Organisation structure

Day to day operation and management is delegated to Camden Art Centre staff, headed by the Director who is supported by the Deputy Director and departmental budget holders.

Martin Clark, Director

Additionally responsible for delivery of the exhibitions, learning, public programmes and residencies.

Moya Malekin, Deputy Director

Responsible for finance, legal, personnel, retail operations, building management, communications and IT.

Departmental budget holders are:

Neil Debnam, Head of Development Martin Clark, Director (Exhibitions, Residencies, Learning, Public Programme) Jacqueline Jeffries, Bookshop and Editions Manager

There are four Trustee meetings a year, with a programme of key topics. In addition to this the Finance and

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Trustees’ Report for the year ended 31[st] March 2021

Operations Committee, chaired by the Vice-Chair of the Trustees, provides an assurance and monitoring role. An Executive Committee, chaired by the Chair of the Trustees monitors organisational development and goals.

A number of staffing changes took place within 2020/21:

A range of staff were placed on furloughed leave through the government coronavirus job retention scheme following the temporary closure of the Centre from March 2020 – September 2020, November 2020, and from December 2020 – May 2021. Some staff were placed on full or part time furloughed leave due to a reduction of work across many areas of our programme, and some staff were redeployed on adjusted duties.

Our volunteer front of house programme was paused for the year, due to the heightened risks and responsibilities around front of house and audience engagement. We recruited additional casual front of house staff alongside existing Team Leaders.

An interim maternity cover post of Residencies Curator was in place from December 2019 – February 2021, and our Learning Curator was on maternity leave from July 2020-May 2021.

An Education Programme Assistant role as part of the youth programme due to commence in 2020 was terminated as we could not offer the level of support intended. Two posts of Bookshop and Information Assistant and Learning Coordinator were made redundant in October 2020 due to the continued and anticipated long-term pause in our courses and shop operations.

We undertook a staffing restructure in 2021 resulting in two positions taking voluntary redundancy terminating May/June 2021, Head of Learning Gemma Wright and one of our Exhibitions Curators Sophie Williamson. We would like to thank them for everything they have done for the organisation over the past 8/9 years and wish them well in their next endeavours. This results in a flatter structure of our programme team all reporting to the Director, and integrates our learning work across all of our programmes. We are introducing a second Learning Curator, Community and Courses to work alongside a reconfigured post of Learning Curator, Children and Young People, which we intend to provide increased delivery capacity and a stronger focus on community, adult and lifelong learning, alongside our ongoing commitment to children and young people.

We recruited 6 posts during June/July 2021: 2 fixed term posts attached to the One in the Other public programme which will run Sept -Dec 2021, as well as the new Learning Curator; Communities and Courses, Assistant Retail Manager, Communications Co-ordinator, and Development and Events Manager. We have done a lot of work to examine and refine our recruitment practices and policies in order open up opportunities and encourage applications from as wide a pool of candidates as possible, including those currently under-represented in the museum and galleries sector.

Pay policy for senior staff

The board of directors and the senior management team comprising the Director and Deputy Director are the key management personnel of the charity in charge of directing and controlling, running and operating the Charity on a day-to-day basis. All directors give of their time freely and no director received remuneration in the year. Details of directors’ expenses and related party transactions are disclosed in note 8 and 10 to the accounts.

The pay of the senior staff is reviewed annually alongside all employees, with pay scale incremental points being awarded annually until the mid-point of the scale is reached, and a cost-of-living percentage increase, with a final decision on any awards made annually by trustees. This is in accordance with the provisions set out in the company Policy Handbook which does not form part of contracts of employment and may be varied from time to time.

Building and Infrastructure:

20

Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

Fundraising Practice

Our approach to fundraising:

Fundraising at Camden Art Centre is planned and delivered by fundraising professionals employed within its Development Department. This work is overseen by a working group of the Board of Trustees (Fundraising Working Group) which comprises the Deputy Chair and Treasurer, and is attended by the Director, Deputy Director and Head of Development. Fundraising activities are undertaken under the auspices of the Fundraising Regulator’s Code of Fundraising Practice and the Centre’s own Ethical Fundraising Policy and Development Strategy. The Centre does not currently employ third party professional fundraisers or conduct fundraising via external commercial fundraising partners.

Participation in fundraising regulation and compliance with codes:

Camden Art Centre is a signed-up member of the Fundraising Regulator and the Centre’s fundraising activities adhere to and are compliant with the Regulator’s Code of Fundraising Practice. The key tenets of the Regulator’s Code of Fundraising Practice form part of the Centre’s Ethical Fundraising Policy, which was adopted by Camden Art Centre Trustees in March 2018.

Any non-compliance with any code:

Camden Art Centre fundraising activities are compliant with current legislation as it applies to charities and fundraising (including data protection) and with the Fundraising Regulator’s Code of Fundraising Practice and there are no current areas of non-compliance.

The number of complaints received:

Camden Art Centre has received no complaints about its fundraising practice in this period.

How Camden Art Centre protects vulnerable people:

As part of its Ethical Fundraising Policy, Camden Art Centre has developed a procedure for dealing with vulnerable people in the context of our fundraising activities, which sets out the procedures for working with children and adults deemed to be vulnerable.

How Camden Art Centre monitors fundraising activities undertaken by third parties:

Camden Art Centre does not currently engage third party fundraisers, so does not currently have a monitoring framework of this kind.

21

Camden Arts Centre Trustees’ Report for the year ended 31[st] March 2021

Thank you

Camden Art Centre is grateful to all our supporters who helped keep our work adventurous and free in 2020/21.

Core Funder

We are especially grateful to Arts Council England and the Department for Digital, Culture, Media and Sport (DCMS) for support via the Cultural Recovery Fund and for support using public funding by the National Lottery through Arts Council England.

Organisational Funders

The A.C.& E Foundation The AKO Foundation The Andor Charitable Trust The Atkin Foundation The Black Heart Foundation Camden Council (Section 106 and CIL) The Cecil and Hilda Lewis Charitable Trust The Chapman Trust City Bridge Trust Clore Duffield Foundation Cranford Collection The D’Oyly Carte Charitable Trust

Freelands Foundation Frieze, London Greene Naftali, New York The Grey Court Trust John Lyon’s Charity The John S Cohen Foundation The London Community Response Fund The Modern Institute / Toby Webster Ltd. Glasgow The Robert Gavron Charitable Trust The Sobell Foundation Stephen Friedman Gallery

Founding Patrons

Mike Davies CBE and Liz Davies Neville Shulman CBE and Emma Shulman Anita Zabludowicz OBE and Poju Zabludowicz

Patrons and Supporters

John Auerbach and Ed Tang Charlotte and Alan Artus Malgosia Alterman Alice Amati Adrian Beecroft Eleanor Cayre Erin Bell and Michael Cohen Guya Bertoni Debra Blair Nicola and Julian Blake Tim Braden Michael and Philippa Bradley Thomas and Sabine Casparie Tamara Corm Loraine Da Costa Karen Cramer Hannah Cross Maryam Diener Indira Dyussebayeva Lonti Ebers Alexandra Economou and Noach Vander Beken Danae Filioti

Porus Jungalwalla Emily King and Matthew Slotover Jill and Peter Kraus Paula Lent Andreas Leventis and Kate Baird Jona Lueddeckens Kate MacGarry Edouard and Lorraine Malingue James Maltz Merissa Marr and Julian Pritchard Hayfa Matar and Tariq Baloch Bozena and William Nelhams Maureen Paley Donald Porteous Ben Rawlingson-Plant Claas Reiss Bianca and Stuart Roden Alex Sainsbury and Elinor Jansz Muriel and Freddy Salem Diane Silverthorne Karen and Mark Smith Ronald and Sophie Sofer

22

Camden Arts Centre

Trustees’ Report for the year ended 31[st] March 2021

Nicoletta Fiorucci Alexandra Soveral and Jorj Aleem Wendy Fisher Nefeli Stylianou Simon and Carolyn Franks Maria Sukkar James Freedman and Anna Kissin Ralph Tawil Daniela Gareh Paul Thornton Heloisa Genish Russell Tovey Antony Gormley Georgina Townsley Alexander Graetsch Christoph and Marion Trestler Matthew Greenburgh Freda and Izak Uziyel Alexandra and Guy Halamish Daniel Vernis Fabian and Harriet Hielte Caspar Williams Pippy Houldsworth Cathy Wills Philip Hughes Mary and Maurice Wolridge Alison Jacques Tom Woo Anjali Pathak Alma Zevi Mato Peric David Zwirner New York / London Alexander V. Petalas And all those who wish to remain anonymous. Carlos and Francesca Pinto

Friends

We are grateful for the support from Friends of Camden Art Centre.

Corporate Partners

Bloomberg Philanthropies Cass Art J W Anderson Tuplin Fine Art

Editions

We would like to thank all the artists who have donated editions to support our future programme.

Artist for Artists Gala Dinner

We are grateful to the artists and all who supported our Artist for Artists Gala Dinners in support of our artist-led programme:

2019 Kara Walker 2020 Yinka Shonibare

Artist for Artists Fund

We are grateful to the following artists who generously contributed works to our anniversary auction, the proceeds of which have enabled us to establish our Artists for Artists Fund.

Hurvin Anderson Kerry James Marshall
Mamma Andersson Michelangelo Pistoletto
Phyllida Barlow Wilhelm Sasnal
Martin Creed David Shrigley
Thomas Hirschhorn Wolfgang Tillmans
Anish Kapoor Christopher Wool
Glenn Ligon Toby Ziegler

23

Camden Arts Centre Trustees’ Report for the year ended 31[st] March 2021

Statement of Trustees’ Responsibilities

The trustees (who are also directors of Camden Arts Centre for the purposes of company law) are responsible for preparing the Trustees’ Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice.)

Company law requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of the affairs of the charitable company and of its income and expenditure for that period. In preparing these financial statements, the trustees are required to:

The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

In so far as the Trustees are aware:

The Trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charity’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.

Auditor

Sayer Vincent LLP has indicated its willingness to continue in office and is deemed to be reappointed under sections 487(2) of the Companies Act 2006.

Small company rules

These accounts have been prepared in accordance with the special provisions of Part 15 of the Companies Act 2006 relating to small companies.

This report was considered and approved by the Board of Trustees on 4 October 2021 and signed on behalf of the Board by:

Guy Halamish, Chair of Trustees

24

Independent auditor’s report To the members of Camden Arts Centre

Opinion

We have audited the financial statements of Camden Arts Centre (the ‘charitable company’) for the year ended 31 March 2021 which comprise the statement of financial activities, balance sheet, statement of cash flows and notes to the financial statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including FRS 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice).

In our opinion, the financial statements:

Basis for opinion

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report. We are independent of the charitable company in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Conclusions relating to going concern

In auditing the financial statements, we have concluded that the trustees' use of the going concern basis of accounting in the preparation of the financial statements is appropriate.

Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on Camden Arts Centre's ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue.

Our responsibilities and the responsibilities of the trustees with respect to going concern are described in the relevant sections of this report.

Other Information

The other information comprises the information included in the trustees’ annual report other than the financial statements and our auditor’s report thereon. The trustees are responsible for the other information contained within the annual report. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon. Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit, or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact.

We have nothing to report in this regard.

Opinions on other matters prescribed by the Companies Act 2006

In our opinion, based on the work undertaken in the course of the audit:

25

Independent auditor’s report To the members of Camden Arts Centre

Matters on which we are required to report by exception

In the light of the knowledge and understanding of the charitable company and its environment obtained in the course of the audit, we have not identified material misstatements in the trustees’ annual report. We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion:

Responsibilities of trustees

As explained more fully in the statement of trustees’ responsibilities set out in the trustees’ annual report, the trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

In preparing the financial statements, the trustees are responsible for assessing the charitable company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the trustees either intend to liquidate the charitable company or to cease operations, or have no realistic alternative but to do so.

Auditor’s responsibilities for the audit of the financial statements

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.

Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities, outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting irregularities, including fraud are set out below.

Capability of the audit in detecting irregularities

In identifying and assessing risks of material misstatement in respect of irregularities, including fraud and non-compliance with laws and regulations, our procedures included the following:

26

Independent auditor’s report To the members of Camden Arts Centre

Because of the inherent limitations of an audit, there is a risk that we will not detect all irregularities, including those leading to a material misstatement in the financial statements or non-compliance with regulation. This risk increases the more that compliance with a law or regulation is removed from the events and transactions reflected in the financial statements, as we will be less likely to become aware of instances of non-compliance. The risk is also greater regarding irregularities occurring due to fraud rather than error, as fraud involves intentional concealment, forgery, collusion, omission or misrepresentation.

A further description of our responsibilities is available on the Financial Reporting Council’s website at: www.frc.org.uk/auditorsresponsibilities . This description forms part of our auditor’s report.

Use of our report

This report is made solely to the charitable company's members as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company's members those matters we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company's members as a body, for our audit work, for this report, or for the opinions we have formed.

Judith Miller (Senior statutory auditor) 12 October 2021

for and on behalf of Sayer Vincent LLP, Statutory Auditor Invicta House, 108-114 Golden Lane, LONDON, EC1Y 0TL

27

Camden Arts Centre

Statement of financial activities (incorporating an income and expenditure account)

For the year ended 31 March 2021

Note
Income from:
3
4
4
5
6
6
6
9
Reconciliation of funds:
Total funds brought forward
Total funds carried forward
Transfers between funds
Net income/(expenditure) and
net movement in funds
Raising funds
Net income / (expenditure) for
the year
Total expenditure
Charitable activities
Exhibitions
Education
Investments
Total income
Expenditure on:
Donations and legacies
Charitable activities
Other trading activities
Exhibitions
Education		 £
1,169,202
59,339
233
128,301
818
1,357,893
174,666
1,042,867
90,738
1,308,271
49,622
118,318
167,940
637,053
804,993
Unrestricted
funds		 Revenue
Capital
£
£
429,717
-
24,700
-
-
-
-
-
-
-
454,417
-
-
-
74,454
97,961
143,287
166,799
217,741
264,760
236,676
(264,760)
(128,318)
10,000
108,358
(254,760)
271,197
1,530,480
379,555
1,275,720
Restricted funds		 2021
Total
£
1,598,919
84,039
233
128,301
818
1,812,310
174,666
1,215,282
400,824
1,790,772
21,538
-
21,538
2,438,730
2,460,268		 2020
Total
£
1,606,588
120,722
95,635
237,421
2,282
Revenue
£
429,717
24,700
-
-
-
454,417
-
74,454
143,287
217,741
236,676
(128,318)
108,358
271,197
379,555
2,062,648
264,857
1,236,813
727,365
2,229,035
(166,387)
-
(166,387)
2,605,117
2,438,730

All of the above results are derived from continuing activities. There were no other recognised gains or losses other than those stated above. Movements in funds are disclosed in Note 20 to the financial statements.

28

Camden Arts Centre

Company no. 02947191

Balance sheet

As at 31 March 2021

Note
Fixed assets:
12
Current assets:
13
14
Liabilities:
15
17
19a
20a
Restricted funds
Restricted income funds
Restricted capital funds
Total restricted funds
Total unrestricted funds
Stock
Debtors
Total assets less current liabilities
Funds:
Unrestricted funds:
Designated funds
General funds
Creditors: amounts falling due within one year
Net current assets
Total net assets
Creditors: amounts falling due after one year
Cash at bank and in hand
Tangible assets
Total funds		 460,931
123,377
880,189
1,464,497
(217,359)		 2021
£
1,295,499
1,295,499
1,247,138
2,542,637
(82,369)
2,460,268
379,555
1,275,720
1,655,275
122,100
682,893
804,993
2,460,268		 2020
£
1,536,119
1,536,119
414,309
223,285
513,354
1,150,948
(160,553)
990,395
2,526,514
(87,784)
2,438,730
271,197
1,530,480
1,801,677
102,100
534,953
637,053
2,438,730

Approved by the trustees on 4 October 2021 and signed on their behalf by

Porus Jungalwalla Treasurer

Guy Halamish Chair

29

Camden Arts Centre

Statement of cash flows

For the year ended 31 March 2021

Note
£
£
21
401,973
818
(35,956)
(35,138)
366,835
513,354
880,189
Net cash provided by operating activities
Cash flows from investing activities:
Dividends, interest and rents from investments
Purchase of fixed assets
Net cash (used in) investing activities
2021
Cash and cash equivalents at the beginning of the year
Cash and cash equivalents at the end of the year
Change in cash and cash equivalents in the year		 £
£
(159,049)
2,282
(79,065)
(76,783)
(235,832)
749,186
513,354
2020		 £
£
(159,049)
2,282
(79,065)
(76,783)
(235,832)
749,186
513,354
2020
513,354

30

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

1 Accounting policies

a) Statutory information

Camden Arts Centre is a charitable company limited by guarantee and is incorporated in the United Kingdom. The registered office address and principal place of business is Arkwright Road, London, NW3 6DG.

b) Basis of preparation

The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2015) - (Charities SORP FRS 102), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (September 2015) and the Companies Act 2006.

Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy or note.

The charitable company meets the definition of a public benefit entity under FRS 102.

d) Going concern

The trustees consider that there are no material uncertainties about the charitable company's ability to continue as a going concern.

The trustees do not consider that there are any sources of estimation uncertainty at the reporting date that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next reporting period.

Please refer to the going concern section in the annual report section for further disclosure.

e) Income

Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the income have been met, it is probable that the income will be received and that the amount can be measured reliably.

Income from government and other grants, whether ‘capital’ grants or ‘revenue’ grants, is recognised when the charity has entitlement to the funds, any performance conditions attached to the grants have been met, it is probable that the income will be received and the amount can be measured reliably and is not deferred.

Income related to exhibitions at the Centre which span the year-end are accounted for in the year in which the major part of the exhibition takes place.

Touring income from exhibitions organised by the Centre and touring to other venues is accounted for on a receivable basis when income is confirmed.

Income received in advance of the provision of a specified service is deferred until the criteria for income recognition are met.

31

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

Donated professional services and donated facilities are recognised as income when the charity has control over the item or received the service, any conditions associated with the donation have been met, the receipt of economic benefit from the use by the charity of the item is probable and that economic benefit can be measured reliably. In accordance with the Charities SORP (FRS 102), volunteer time is not recognised so refer to the trustees’ annual report for more information about their contribution.

On receipt, donated gifts, professional services and donated facilities are recognised on the basis of the value of the gift to the charity which is the amount the charity would have been willing to pay to obtain services or facilities of equivalent economic benefit on the open market; a corresponding amount is then recognised in expenditure in the period of receipt.

Donations of works of art for the benefit of the charity are accounted for when gifted, and recognised on the basis of the value on the open market

g) Interest receivable

Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity; this is normally upon notification of the interest paid or payable by the bank.

h) Fund accounting

Restricted funds are to be used for specific purposes as laid down by the donor. Expenditure which meets these criteria is charged to the fund.

Unrestricted funds are donations and other incoming resources received or generated for the charitable purposes.

Designated funds are unrestricted funds earmarked by the trustees for particular purposes.

i) Expenditure and irrecoverable VAT

Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party, it is probable that settlement will be required and the amount of the obligation can be measured reliably. Expenditure is classified under the following activity headings:

Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred.

j) Allocation of support costs

Resources expended are allocated to the particular activity where the cost relates directly to that activity. However, the cost of overall direction and administration of each activity, comprising the salary and overhead costs of the central function, is apportioned on the following basis which are an estimate, based on staff time, of the amount attributable to each activity.

Where information about the aims, objectives and projects of the charity is provided to potential beneficiaries, the costs associated with this publicity are allocated to charitable expenditure.

Support and governance costs are re-allocated to each of the activities on the following basis which is an estimate, based on staff time, of the amount attributable to each activity

Raising funds 7%
Exhibitions 73%
Education 21%

Governance costs are the costs associated with the governance arrangements of the charity. These costs are associated with constitutional and statutory requirements and include any costs associated with the strategic management of the charity’s activities.

32

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

k) Operating leases

Rental charges are charged on a straight line basis over the term of the lease.

l) Tangible fixed assets

Items of equipment are capitalised where the purchase price exceeds £5,000. Items above £1,000 on discretion dependent on future intended use. Depreciation costs are allocated to activities on the basis of the use of the related assets in those activities. Assets are reviewed for impairment if circumstances indicate their carrying value may exceed their net realisable value and value in use.

Where fixed assets have been revalued, any excess between the revalued amount and the historic cost of the asset will be shown as a revaluation reserve in the balance sheet.

Depreciation is provided at rates calculated to write down the cost of each asset to its estimated residual value over its expected useful life. The depreciation rates in use are as follows:

Building Development Over the term of the lease
Furniture & Equipment 5 years
Computer equipment 3 years
Capital Refurbishment 5 years

The Building Development represents expenditure on the re-development of the Camden Arts Centre. The development work is being depreciated from 8 March 2004, the date of practical completion, to 9 September 2027, the date of the expiry of the 25 year lease. Assets funded through the recent ACE capital expenditure programme and the London Borough of Camden capital funding are depreciated over five years on a straight line basis.

m) Stocks

Stocks are stated at the lower of cost and net realisable value. In general, cost is determined on a first in first out basis and includes transport and handling costs. Net realisable value is the price at which stocks can be sold in the normal course of business after allowing for the costs of realisation. Provision is made where necessary for obsolete, slow moving and defective stocks. Donated items of stock, held for distribution or resale, are recognised at fair value which is the amount the charity would have been willing to pay for the items on the open market.

n) Debtors

Trade and other debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.

o) Short term deposits

Short term deposits includes cash balances that are invested in accounts with a maturity date of between 3 and 12 months.

p) Cash at bank and in hand

Cash at bank and cash in hand includes cash and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar account.

q) Creditors and provisions

Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions are normally recognised at their settlement amount after allowing for any trade discounts due.

r) Financial instruments

The charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value with the exception of bank loans which are subsequently measured at amortised cost using the effective interest method.

33

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

s) Pensions

The company contributes to a defined benefit pension scheme operated by the London Borough of Camden for one employee. The charity's position is one of a stand alone arrangement, the employee has retired and the charity's remaining obligations in relation to this pension fund have been confirmed with the London Borough of Camden. These are accounted for in accordance with FRS 102 at the net present value of future obligations and the liability is accounted for at the balance sheet date.

The company makes contributions of 6% of gross pay to a defined contribution stakeholder pension scheme for eligible staff and contributes to the defined contribution personal pension schemes of some staff. The pension funds are held in externally administered schemes and the pension charge represents the amounts payable by the company to the funds in respect of the year.

2 Detailed comparatives for the statement of financial activities

Income from:
Donations and legacies
Charitable activities:
Other trading activities
Investments
Total income
Expenditure on:
Raising funds
Total expenditure
Net movement in funds
Total funds brought forward
Total funds carried forward
Exhibitions
Charitable activities:
Education
Education
Exhibitions		 Unrestricted
funds
£
1,282,907
58,898
93,121
237,421
2,282		 Restricted funds Restricted funds 2020
Total
£
1,606,588
120,722
95,635
237,421
2,282
Revenue
£
237,952
61,824
2,514
-
-		 Capital
£
85,729
-
-
-
-
1,674,629 302,290 85,729 2,062,648
264,857
891,907
447,379		 -
243,783
108,037		 -
101,123
171,949		 264,857
1,236,813
727,365
1,604,143 351,820 273,072 2,229,035
70,486
566,567		 (49,530)
320,727		 (187,343)
1,717,823		 (166,387)
2,605,117
637,053 271,197 1,530,480 2,438,730

34

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

3a Income from donations and legacies (current year)

Arts Council England
Friends and patrons
Donated goods and services
Fundraising events
Grants & donations
Government Furlough Grant
Arts Council Cultural Recovery Fund		 Unrestricted
funds
£
34,151
148,669
936,595
-
41,787
8,000
-		 Restricted funds Restricted funds 2021
Total
£
358,050
148,669
936,595
105,818
41,787
8,000
-		 2020
Total
£
409,007
-
919,673
45,737
111,500
120,671
Revenue
£
323,899
-
-
105,818
-
-
-		 Capital
£
-
-
-
-
-
-
-
1,169,202 429,717 - 1,598,919 1,606,588

3b Income from donations and legacies (prior year)

Arts Council England
Friends and patrons
Donated goods and services
Fundraising events
Grants & donations		 Unrestricted
funds
£
85,326
919,673
45,737
111,500
120,671		 Restricted funds Restricted funds 2020
Total
£
409,007
919,673
45,737
111,500
120,671
Revenue
£
237,952
-
-
-
-		 Capital
£
85,729
-
-
-
-
1,282,907 237,952 85,729 1,606,588

4 Income from charitable activities

Exhibitions
Donated goods and services
Other Public
Publication sales
Artwork sales
Sub-total for exhibitions
Education
Grants & donations
Fees for courses and events
Sub-total for education
Total income from charitable
activities		 Unrestricted
£
-
26,558
27,419
5,362		 Restricted
£
24,699
-
-
-		 2021
Total
£
24,699
26,558
27,419
5,362		 Unrestricted
£
-
35,000
8,643
23,898		 Restricted
£
15,828
-
1,912
45,996		 2020
Total
£
15,828
35,000
10,555
69,894
59,339
-
233		 24,699
-
-		 84,038
-
233		 67,541
-
84,478		 63,736
602
-		 131,277
602
84,478
233 - 233 84,478 602 85,080
59,572
 24,699 84,271 152,019 64,338 216,357

35

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

Income from other trading activities
Bookshop sales
Gallery and Studio hire
Donated artworks
Other income		 2021
Total
£
10,377
-
115,997
1,927		 2020
Total
£
61,264
7,540
143,954
24,663
128,301 237,421

All income from other trading activities is unrestricted.

36

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

6a Analysis of expenditure (current year)

Staff costs (Note 8)
Direct costs
Marketing and advertising
Office costs & fees
Property costs
Recruitment
Legal and professional costs
Depreciation
Support costs
Governance costs
Total expenditure 2021
Total expenditure 2020		 Raising funds
£
85,980
-
1,400
29,952
-
-
-
-		 Charitable activities Charitable activities Governance
costs
£
-
-
-
-
-
-
13,160
-		 Support
costs
£
214,951
162
55,841
139,382
120,442
220
16,765
276,576		 2021
Total
2020
Total
£
£
881,298
901,034
255,601
556,092
57,372
94,145
169,338
211,424
120,442
166,026
220
94
29,925
18,122
276,576
282,098
1,790,772
2,229,035
-
-
-
-
1,790,772
2,229,035
Exhibitions
£
429,901
177,125
131
-
-
-
-
-		 Education
£
150,466
78,314
-
4
-
-
-
-
117,332
55,636
1,698		 607,157
599,635
8,490		 228,784
169,068
2,972		 13,160
-
(13,160)		 824,339
(824,339)
-
174,666 1,215,282 400,824 - -
264,857 1,236,813 727,365 - -

37

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

6b Analysis of expenditure (prior year)

Staff costs (Note 8)
Direct costs
Marketing and advertising
Office costs & fees
Property costs
Recruitment
Legal and professional costs
Depreciation
Support costs
Governance costs
Total expenditure		 Raising funds
£
109,882
-
-
45,275
-
-
-
-		 Charitable activities Charitable activities Business
£
-
-
-
-
-
-
-
-		 Governance
costs
£
-
-
-
-
-
-
10,404
-		 Support
costs
2020
Total
£
£
263,718
901,034
439
556,092
92,514
94,145
165,892
211,424
166,026
166,026
94
94
7,718
18,122
282,098
282,098
978,499
2,229,035
(978,499)
-
-
-
-
2,229,035
Exhibitions
£
307,670
385,209
1,631
41
-
-
-
-		 Education
£
219,764
170,444
-
216
-
-
-
-
155,157
107,906
1,794		 694,551
537,240
5,022		 390,424
333,353
3,588		 -
-
-		 10,404
-
(10,404)
264,857 1,236,813 727,365 - -

38

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

7 Net income / (expenditure) for the year

This is stated after charging / (crediting):

This is stated after charging / (crediting):
2021 2020
£ £
Depreciation 276,576 282,098
Auditor's remuneration (excluding VAT):
Audit 9,200 8,900

8 Analysis of staff costs, trustee remuneration and expenses, and the cost of key management personnel

Staff costs were as follows:

Staff costs were as follows:
Consultancy
Salaries and wages
Redundancy and termination costs
Social security costs
Employer’s contribution to defined contribution pension schemes		 2021
£
732,656
17,166
61,479
35,359
34,638		 2020
£
765,166
-
65,340
39,194
31,334
881,298 901,034

The following number of employees received employee benefits in excess of £60,000 (excluding employer pension costs and employer's national insurance) during the year between:

2021 2020
No. No.
£80,000 - £89,999 1 1

The total employee benefits (including employer pension contributions and employer's national insurance) of the key management personnel were £153,440 (2020: £153,483).

The charity trustees were neither paid nor received any other benefits from employment with the charity in the year (2020: £nil). No charity trustee received payment for professional or other services supplied to the charity (2020: £nil).

Trustees' expenses represents the payment or reimbursement of travel and subsistence costs totalling £0 (2020: £0)

39

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

9 Staff numbers

The average number of employees (head count based on number of staff employed) during the year was 45 (2020: 34). The FTE were as follows, split across the key activities of the charity:

Bookshop and reception
Premises and administration
Exhibitions
Raising funds
Education		 2021
No.
2.0
10.0
3.5
0.5
4.5		 2020
No.
2.5
7.0
5.0
1.5
4.5
20.5 20.5

10 Related party transactions

Aggregate Unrestricted donations from related parties were £13,500 (2020: £17,097).

No restricted donations of were received from Trustees (2020: £350).

11 Taxation

The charitable company is exempt from corporation tax as all its income is charitable and is applied for charitable purposes.

40

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

12 Tangible fixed assets

Net book value
Disposals in year
At the end of the year
At the start of the year
Cost
Depreciation
Eliminated on disposal
At the end of the year
At the end of the year
At the start of the year
Charge for the year
At the start of the year
Additions in year		 Building
Development
£
4,598,087
-
-		 Furniture &
Equipment
£
67,414
19,258
-		 Computer
equipment
£
20,043
-
-		 Capital
Refurbishment
£
367,245
16,698
-		 Total
£
5,052,789
35,956
-
4,598,087 86,672 20,043 383,943 5,088,745
3,191,714
216,365
-		 51,965
8,670
-		 13,751
3,146
-		 259,240
48,395
-		 3,516,670
276,576
-
3,408,079 60,635 16,897 307,635 3,793,246
1,190,008 26,037 3,146 76,308 1,295,499
1,406,373 15,449 6,292 108,005 1,536,119

Building development comprises the cost, including relevant fees, of the refurbishment of the Centre's leasehold premises. The premises are held on a 25 year lease from Camden Council. The realisable value of the lease is limited as it specifically states that the premises can only be used "for the purpose of the advancement of the education of the public of the understanding and appreciation of the Arts". The lease also states that any disposal of the lease will be restricted in accordance with Section 117 of Charities Act 2011.

Arts Council England has a mortage on the property and a floating charge over the other assets of the charity worth £2,914,783 for a 25 year period from 18 September 2002.

All of the above assets are used for charitable purposes.

13
Stock
Bookshop stock
Donated artwork stock		 2021
£
18,818
442,115		 2020
£
19,050
395,259
460,933 414,309

41

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

14 Debtors

Debtors
Accrued income
Other debtors
Prepayments
VAT
Trade debtors		 2021
£
24,036
1,057
17,163
75,567
5,554		 2020
£
83,969
338
25,249
107,735
5,994
123,377 223,285

All financial instruments, both assets and liabilities, are measured at amortised cost. The carrying values of these are shown above and also in note 15 below.

15 Creditors: amounts falling due within one year

Creditors: amounts falling due within one year
Deficit reduction plan pension liability (note 18)
Trade creditors
Taxation and social security
Other creditors
Accruals
Deferred income (note 16)		 2021
£
78,076
13,894
4,604
96,449
336
24,000		 2020
£
87,018
16,745
14,672
29,422
696
12,000
217,359 160,553

16 Deferred income

Deferred income comprises education fees received in advance of the period the educational activity occurs.

Balance at the beginning of the year
Amount released to income in the year
Amount deferred in the year
Balance at the end of the year		 2021
£
696
(360)
-		 2020
£
16,863
(16,863)
696
336 696

42

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

17 Creditors: amounts falling due after one year

Creditors: amounts falling due after one year
Deficit reduction plan pension liability (note 18):
Amounts due within two to five years
Amounts due in more than five years		 2021
£
48,550
33,819		 2020
£
48,550
39,234
82,369 87,784

18 Pension scheme

Amounts included in Creditors under "Deficit Reduction Plan" represent a liability to the London Borough of Camden to settle amounts due under a superannuation scheme which has now closed. The amount of the liability is being paid in equal instalment of £12,000 per annum over a 15 year period commencing in the charity's 2017/18 financial year. This liability is accounted for in full at net present value, taking account of an imputed interest rate of 7.5%. These assumptions and the resulting liability may vary depending on changes to underlying interest rates over time.

19a Analysis of net assets between funds (current year)

Tangible fixed assets
Net assets at 31 March
Net current assets
Long term liabilities		 Unrestricted
funds
£
29,183
858,179
(82,369)		 Restricted
revenue funds
£
-
379,555
-		 Restricted
capital funds
£
1,266,316
9,404
-		 Total funds
£
1,295,499
1,247,138
(82,369)
804,993 379,555 1,275,720 2,460,268

19b Analysis of net assets between funds (prior year)

Net assets at 31 March
Net current assets
Long term liabilities
Tangible fixed assets		 Unrestricted
funds
£
21,741
703,096
(87,784)		 Restricted
revenue funds
£
-
271,197
-		 Restricted
capital funds
£
1,514,378
16,102
-		 Total funds
£
1,536,119
990,395
(87,784)
637,053 271,197 1,530,480 2,438,730

43

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

20a Movements in funds (current year)

Restricted funds:
Total restricted funds
Total designated funds
General funds
Cultural Recovery Fund
Designated funds:
Audience Development
Building Development
Total unrestricted funds
Total funds
Capital funds
LB Camden s106 project
LB Camden CIL project
Unrestricted funds:
Building development
Exhibitions: Artists for
Education
Exhibitions
Revenue funds
Audience Development		 At 1 April
2020
£
33,500
60,657
172,040
5,000
-
59,412
64,747
1,406,321		 Income &
gains
£
147,288
201,311
-
-
105,818
-
-
-		 Expenditure &
losses
£
(143,287)
(74,454)
-
-
-
(35,033)
(13,362)
(216,365)		 Transfers
£
-
-
(22,500)
-
(105,818)
-
10,000
-		 At 31 March
2021
£
37,501
187,514
149,540
5,000
-
24,379
61,385
1,189,956
1,801,677 454,417 (482,501) (118,318) 1,655,275
60,000
42,100		 -
-		 -
-		 -
20,000		 60,000
62,100
102,100 - - 20,000 122,100
534,953 1,357,893 (1,308,271) 98,318 682,893
637,053 1,357,893 (1,308,271) 118,318 804,993
2,438,730 1,812,310 (1,790,772) - 2,460,268

44

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

20b Movements in funds (prior year)

Restricted funds:
Total restricted funds
Total designated funds
General funds
Revenue funds
Exhibitions: Artists for
Building development
Total unrestricted funds
Total funds
LB Camden s106 project
LB Camden CIL project
Exhibitions
Education
Capital funds
ACE capital project
Audience Development
Unrestricted funds:
Designated funds:
Building Development
Audience Development		 At 2 April
2019
£
47,882
194,540
73,305
5,000
11,599
83,486
-
1,622,738		 Income &
gains
£
226,290
-
76,000
-
-
9,000
76,729
-		 Expenditure &
losses
£
(221,283)
(22,500)
(108,037)
-
(11,599)
(33,074)
(11,982)
(216,417)		 Transfers
£
7,768
(7,768)
-
-
-
-		 At 31 March
2020
£
60,657
172,040
33,500
5,000
-
59,412
64,747
1,406,321
2,038,550 388,019 (624,892) - 1,801,677
60,000
75,000		 -
-		 -
-		 -
(32,900)		 60,000
42,100
135,000 - - (32,900) 102,100
431,567 1,674,629 (1,604,143) 32,900 534,953
566,567 1,674,629 (1,604,143) - 637,053
2,605,117 2,062,648 (2,229,035) - 2,438,730

20c Purposes of funds

Purposes of restricted funds

Exhibitions - income from individuals through Exhibition Circles, Trusts & Foundations and UK and international arts agencies and commercial gallery partners, as well as funds raised through our Emerging Artist Prize, for the purpose of presenting exhibitions of UK and non-UK artists.

Exhibitions: Artists for Artists - A discrete fund that was created in 2017 through fundraising events for the Gallery's 50th Anniversary. The purpose of the fund is to support artist-led projects, commissions and residency programmes that will enable artists to continue to take risks with new ideas and to push the boundaries of their own practice.

Education - Income mainly from Trusts & Foudations supporting our learning programmes including Special Educational Needs, Primary School, Family and Youth programmes.

Residencies - Artist residencies, supported by restricted income.

Cultural Recovery Fund - Relating to activity supported by Arts Council England grant in relation to the cornavirus pandemic.

45

Camden Arts Centre

Notes to the financial statements

For the year ended 31 March 2021

20c Purposes of funds (continued)

Purposes of restricted funds (continued)

LB Camden s106 project - A grant of £172,323 from London Borough of Camden S106 funds towards a series of improvement works to be completed 2016-2021. Works include environmental building upgrades such as solar panels, rainwater harvesting tanks, a computerised building management system and interior LED lighting, and improvements to public areas such as our garden walkway. Expenditure represents depreciated costs.

Community Infrastructure Levy (CIL) awarded via LB Camden - A grant of £76,729 towards a series of improvement works in our café and garden.

Building development - the depreciation cost, including relevant fees, of the refurbishment of the Centre's leasehold premises. The premises are held on a 25 year lease from Camden Council.

Purposes of designated funds

Designated funds were originally set up in 2018/19 for audience development initiatives and building development costs.

21 Reconciliation of net income / (expenditure) to net cash flow from operating activities

Net (expenditure) / income for the reporting period
(as per the statement of financial activities)
Depreciation charges
Dividends, interest and rent from investments
Decrease/(increase) in stocks
(Increase)/decrease in debtors
Increase/(decrease) in creditors
Net cash provided by operating activities		 2021
£
21,538
276,576
(818)
(46,622)
99,908
51,391		 2020
£
(166,387)
282,098
(2,282)
(149,213)
(68,666)
(54,599)
401,973 (159,049)

22 Operating lease commitments

The Centre's total future minimum lease payments under non-cancellable operating leases is as follows for each of the following periods:

each of the following periods:
Less than one year
One to five years		 2021
2020
£
£
6,845
7,536
2,432
9,277
9,277
16,813
Equipment
9,277 16,813

23 Legal status of the charity

The charity is a company limited by guarantee and has no share capital. The liability of each member in the event of winding up is limited to £1.

46