Barbican Arts Group Trust UTR.. 3003600916 IRMark'. LDTRAUNDKU7WEMWF5L5BIZX6YXZZFEOE. Page 1 Df 16. HM Revenue & Customs Corporation Tax Return for the accounting period ended 24 December 2023. This is a copy of the informatlDn that will be transmitted lo HM Revenue & Customs once authorised by you. The copy includes all completed supplemerltsry pages and attachments. Before Iransmittbng the return (or amendment) information lo HM Revenue & Customs using the Corporation Tax online fillng system. would you please check that the information is correct to the best of your knowledge and bellef. If you give false information or conceal any income or chargeable gains you may be liable lo financial penalties. The HM Revenue & Customs IRmark number 25signed to the Corporatfon Tax Retum information Is.. LDTRAUNDKU7WEMWF5L5BIZX6YXZZFEOE Thi5 number appears on each page of this copy, which is con5eculively numbered from 1 to 16 The following details cornprise the information to be sent electronically. Name UTR 3003600916 Barbican Arts Group Trijst Where the Corporation Tax Retum (or amended Return) conlalns a claim for repayment, your signatLJre confirms that you have authorised HM Revenue & Customs lo make any repayment arising from this retum lo the nominee as detailed on the form. Signatrjre Dale 10 07,?CDLL BARBICAN ARTS GROUP TR ST (A Company Limited by GuArantee) REPORT AND ACCOUNTS OR THE YEAR ENDED 24 DECEMBF.R 202 Reglstcrcd Ch*r5ty Number: 1120918 Company Numbcr: 6355408 Pa%e I BARBICAN ARTS GROUP TRUST REPORT AND ACCOUNTS FOR THE YEAR E TH DED 24 DLCEMBER 2023 Contents Page Report of the Directors and Truslces Independent Examiner's Report Statemeni of financial Activities Balaiice Sheei 10 Notes to the Accounts 14 Annual Report deiailing acliievcments and objectives Page 2 BARBICAN ARTS CROUP TRUST REPORT OF THE DIRF,CTORS AND TRUSTEES FOR THE YEAR ENI)ED 24 DECF.MBER 202J The following rkople were Direciorsfi"rustees of the Cliarity on thc date of approval of the Report. TORSITR STEES DATE ELE TED DANIEL DAHL 29th August 2007 (resigned 27¢h December 2023) DOMO BAAL 23 August 2017 LIELA HASHAM 6, January 2020 RUPERT MAUDE I2￿1 March 2020 DANIEL KENNEDY DAVIES 15" July 2021 PAEe 3 BARBICAN ARTS GROUP TRUST RKPORT OF THF. DIRECTORS AND TRU.8TEES Cont'd FOR THE YF.AR ENDED 24" DECF.MBER 2023 Thc Tru5t¢¢s (who are also tlic Dircctor5 for the purpose of Company Law) have plcasur¢ in presenting their Annual Report ai)d the Financial Statemeiits for tlic year ended 24, December 2023. Th¢ financial statemenis liave been prepared in accordance with Accouiiling and Reporting by Charities.. Stateinent of Rc¢ommended Practice (SORP) applicdble to ¢liarilies preparing their accounts in accordance with tlie Finaiicial RepoTting Standard applicable in the UK and Republic of Ireland (FRS 1021 (effective l January 2015), with FRS 102 and with the requirements of the Companies Aci 2006. REFERENCE AND ADMINISTRATIVE DETAILS Chgrity Name: Barbicaii Arts Group Trust Chgrlty Regl$tratlon: 1120918 Company Reeistration: 6355408 Reglstered orrice: 32a, Hertford Road, London, Nl SSH. CompAny Secretary: Mr. M. Wainwriglit Bonk¢rs: HSBC Bai)k Pl¢, 74 0osw¢ll Road, London ECIV 7DA Indcpcndent Examlners Souihwell, Tyrrell & Co., Cliartered A¢¢ountants, 15 Lower Ground l.'loor, 65 London Wall, London, EC2M STU. OBJEcfIvES AIW ACTIVITIES The purposes of thc charity are= (a) the promotioii aiid advwiceinent of the visual art5 in all iheir aspccts for ihe public benefit and the furth¢ranc¢ of public knowledgr, understanding and appreciation of the visual arts including arranging and holding exhibitions of ariists work. and (b) the assistance of artists. in nec¢ssitOUS CITcuinsianc¢5 particularly by the provision of accominodati0i1, and (¢} such other exclusivcly charitable object5 and purposes (which without prejudice to the generality of the foregoing tenns shall include any cliaritable trusts institutioi)s foundations or oiher organisations) in th¢ United Kingdom or in any other part of the word ￿ the trustees shall in their dis¢reiion think fit. Page 4 BARBICAN ARTS CROUP TRUST REPORT OF THE DIRECTORS AND TRUSTF.ES Cont'd FOR THF YEAR ENDF,D 24. DECEMBER 2023 rH OBJECTIVES AND ACTIVITIES (Cont'd) The Jnain activities undertaken during the year were.. a) Projects for the year eneoinpassed artists, residen¢ies. open siudios, solo/giY)up shows. b) Blackiiorse Lane Studios held Open Studios this ycar and the Projc¢i Space within siudios hosted a nuinbcr of ¢xiiibitions, and developmeiit opwrtunities lor th¢ studio artists. c} Hertford Road Studios continued it5 cxhibitioii programmc which ¢xtended to both studio anisrs and artists not associated with Barbican Arts Groupl rust. d) Th¢ vast majority of th¢ expenses of Il)e Chariiy relate to ilie rent, rates and insurance ofthe two studio building5 in Blackhorse Lane E17 and Ilertford Road N l. ACHIEVEMENTS AND PERFORMANCE A detailed d¢5¢ription of the aciivilies of the Trust are given in the Annual Report which starts after pagc 13 of Ihcse accounts. Investment Actlvltles The Charity does not currently hold any inveslm¢nt5. FINANCIAL REVIEW Financial Posltlon Incomiiig resources ii) Ihc year were £152,033 (2022: £149,652). Of ihis £0 (2022- £0) related to projeci reslri¢ted activities. A deficit of £10,591 (2022.. Surplus £14,105) was Inade in the year. At 24, Deceinbcr 2023, total reserves wcre £333,369 (2022- £343,960) of which £12,081 (2022: £12.08]) reprcscnted restricted funds. Reserve5 Policy L4arbican Arts Group 'fru5t is required to ensure Ih&t frec monies are availabl¢ in each finaiicial year to meet any reasonable foreseeable contingency. Funds in Deficit No funds were in deficit at th¢ Balance Sheet dale. Pzge S BARBICAN ARTS GROUP TRUST REPORT OFTHE DIRECTORS AND TRUSTEES Cont'd FOR THE YEAR ENDED 24 DECEMBER 2023 TH STRucfuRE, GOVERNANCE AND I¥IANAGEMEiYr Governing Document Barbican Art5 Group Trust is a registered chariiy and a Cornpany Limited by Gu¢irantee. Tl)¢ maximum liability of each Jn¢mber is limited to one pound. At 24 December 2023 the Company had 5 (2022 5) Members. Barbican Arts Group Trusi is goveTncd by its Memorandum and Articles of Association. Barbican Arts Group Trust was incorpornied as a Comparty limited by Guarantee on 291h Aug115t 2007. The Charity ¢ommenced operations on 291h August 2007 at whicli date the Lssets and liabilities of the unincorporated Barbi¢an Art5 Group -1 rust werc acquired. Recruitment, Appointment of Trustees The .1 ru5tees are Directors of the Coinpany. The Inain procedure for the appointmcnt of Trustees is described in the Memorandiim of Associatioii, as is the procedure for the elerlion of the Chair. OrgAniJational Structure The Charity has no full or part-time employees, any administration work being p¢rfomied by volunteers, All of the Trustees are unpaid. Major Rlsks l-he Trustees recognise that any Inajor risks lo which the Charity is cxposcd i)ecd to be reviewed aiid syslcms pul iii plac¢ to miligale Iliose risks. 'I'o Ilial cnd Barbican Art5 Group Trust Is continually IT)onitoring and managing its risk and ensuriiig Action plans are in place to miligale i¢s k¢y risks. Tlie Trusiees are aware of ihc need lo secure loiig-i¢rm accoinmodation for the artists il is assisting aiid are confident that matters will be claTifi¢d in (lie near fuiur¢, Page 6 BARBJCAN ARTS GROUP TRUST RF.PORT OF THK DIRF.CTORS AND TRUSTEES Cont'd FOR THE YEAR ENDF,D 24 DFCEMBF.R 2023 DIRECTORS, RESPONSIBILITIES Company Law and Charity Law require the Dir¢etors to prepare financial statemcnts for each financial year, whi¢h give a true and fair vi¢w of the stale of affairs of Barbican Aris Group TTUSt and the surplus or deficit for that period. In preparing those financial slateinenls, the Directors are required to.. (a) select suitable accounting poli¢ics and then apply them consistently. (b} make judgements and estiinatcs thai are reasoiiable and prudcnl. (c) stale whether applicable accounting stai)dard5 luvc beeii followed. subject to any Inalerial departUTes disclosed and explained in tlie financial statements, and; (d) pr¢pare the financial statemenis on the going concern b￿lS unless it is itvappropriat¢ lo presume that tlie Company will continue in operalion. The Dircctors are also responsible for keeping propcr accouiiling records which disclose with reasonable a¢¢uracy al any lime the financial position of IJarbi¢an Arts Group -I'rust aiid to enable them lo ¢nsure that th¢ financial stai¢ments comply wilh the Coinpaiiies Aci 2006. The Directors are responsible for ensuring that tlie Coinpany maintains an adequate systein of internal eoiitrol dcsigned lo provide reasonabl¢ ￿suranCe that a5scis are safeguarded against maicrial 1055 or un&uthorised usc And to preveni and dctect fraud and other irregLilariiies. This Report ha5 been prepared in a¢cordance with the Statement of Recommended Pra¢li¢e Aecoiinting and Reporting by Charilies and in accordance willi rhe provisions of Part 15 of ih¢ Companies Aci 2006 &pplicable to companie5 subj¢ct to Ihe sinall companies regiine. Company Secretary - M. Wainwrleht Director D. Baal Approved on behalf of tbe Board of Trustees on: ioih July 2024 Page 7 BARBICAN ARTS GROUP TRUST INDEPENDETr4T FXAMINER'S RF.PORT TO THF. TRUSTEF.S OF FOR THE YEAR FNDED 24TII DECEMBER 2023 I report to the ¢harily trusiees on my examination of the a¢¢ounis of rhe Charity for the year ended 24 December 2023 which are set out on pages 8 10 13. RESPONSIBILITIES AND BASJS OF REPORT A5 the charity trustees of the ¢oinpany (and alsi) its directors for the purposcs of company law) you are responsible for the preparation of the accounls in accordance with the requirement5 of the Companies Act 2006 ('the 2006 Act,). Having satisfied myself tliat thc accounts of the cOmp￿]Y are not required to be audited undcr Part 16 of the 2006 Act and are cligible for independent examination. I rcport in rcspeci of my examination of your company's accouiits ￿ carried out under section 145 of the Chai'ities Act 2011 ('the 20 I l Act,). In carrying out my examination I have follow￿ ihe Dir¢¢tions giv¢n by the Charity Commission under section 145(5Mbl of tl)e 2011 Act. INDEPKNDENT EXAMINER'S STATEMENT I have Completed Iny exaininalioii. I confirin that iio Inatter5 have come to my allenlion in connection with the exwi)inatioii giving me cause lo believe that in any illatcrial rcspcct: accounting records were noi k¢pl in respccl of ihe company as required by s¢¢lion 386 of the 2006 Act,. or the accoui)t5 do not ac¢ord with Iliose records., or the accounts do not comply willi the accouiiting requirements of scclion 396 of the 2006 Act other than any requir¢ineni that the accounts give u 'lrue and fail. view, which is not a mallcr considered ￿ part oran independent examinaiion.. or Ihc accounts have not been prepared iii a¢cord&ice witl) the Inethods and principl¢s of the Statement of Recomin¢ndcd Praciice for accounting and reporting by charities lapplicable lo charlties prepariiig Iheir accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)1. I have no concerns and have come across no other mAtters in conneciiort with the examination to which attention should be drawn in this report in order to ¢nabl¢ a proper understanding of the accounts lo be rea¢li¢d S. R. Clark Bsc ACA Southwell, Tyrrell & Co., Chartercd A£countaDts 15 Lower Ground Floor, 65 London W811, London, FC2M 5ru. Date: Iolh July 2024 Page 8 BARBICAN ARTS GROUP TRUST STATEMF.NT OF FINANCLAL ACTtVlTIES FOR THE YEAR ENDED 24" DECEMBER 2023 UTrIRESTRICTED RESTRI TED TOTAL TOTAL FUNDS FUNDS FUNDS FUNDS 2023 2022 NOTE Income: Donations Otlier irading activities Investmeni incoine 9,731 7,937 134,365 9,731 7,937 134,365 44,312 855 104.485 Total Incom¢ £152,033 £152,033 £149,652 Expendlture: Charilable activities Governancc cost 160.674 1,950 160.674 1,950 133,687 1.860 Total cxpenditure £162,624 £162,624 £135,547 Net Incomel (expenditurt) for the year (10,5911 (10,591) 14,105 Transfer between Funds Net movement in Funds (10.591) (10,591) 14,105 Fund Balances at 251h December 2022 331,879 12,081 343,960 329,855 Fund Balaiices ai 241h December 2023 £321,288 £12.08] £333,369 £343,960 Page 9 BARBICAN ARTS GROUP TRUST BALANCE SHFET TH AS AT 24 DECEl¥fBER 2023 2023 2022 Notes FIXED ASSETS Lea5ebold l]nprovement8 12,875 16,310 cuRREr￿ ASSETS Debtors C&sh at bank and ID hand 6 32,250 362,261 11,000 347,711 394,511 358,711 CREDITORS.. amounts falling due iyithin one year 7 {74,017) 131,061) NET CURRENT ASSETS 320,494 327,650 TOTAL ASSV.TS LF.SS CURRENT LIABILITJES £333,369 £343,960 TOTAL NET ASSETS> £333.369 £343,960 RESTRICTED FUND 12,081 12,081 UNRESTRICTED FUND 321.288 331,879 TOTAL FUNDS £333,369 £343,960 The Dir¢¢iors ar¢ satisfied thai Il)e Company is entiilcd to cxeinption from the requireincnt to obtaii) an audit und¢r S¢¢iion 477 of ilie Companies Act 2006 and ihat ilie Membcrs have nol roquired the Company lo obthin an audit in a¢¢ordan¢e wiih Section 476 of the Act. 'rh¢ Dir￿tOrS a¢knowl¢dg¢ thcir rc5ponsibilitlCs for complyin8 Wltli the requirement5 of the Companies Act 2006 with rcsp¢¢t to a¢couniing records and th¢ preparation of A¢counts. The Accounts have been prepared in accordance with the provisions in Part 15 of the Compani¢s Act 2006 applicable to companies subject to the 5Jnall COTnpanies regime. Approved on behalf of the Board of Trustees: . Ba#l- Trustee Dated: IO" July 2024 Page 10 BARBICAN ARTS GROUP TRUST NOTES TO THE ACCOUTr4TS FOR THE YEAR ENDED 24" DF EMBER 2023 ACCOUNTING POLICIES al The financial stateTnenis have been prepared in accordance witli Accounting aiid R¢porting by Charities- Statement of Recommended Pr&cti¢e {SORP) applicable to charitie5 preparin8 their accounts in accordaiicc witli the Financial R¢porting Standard applicable in the UK and Republic of Ireland (FRS 102) (effcctive l January 2015) {Charities SOKP (FRS 102)), with FRS 102 and will) the requiremcnts Df the Companies Act 2006. Barbican Arts Group Trust meet5 the definition of a public benefir entity under th¢ FRSIO2. Assets and liabilitics are iniiially Tecognised at histori¢al Cost or transaction value unless otherwise stated in the relevant accounting policy note(sl. b) Tlie Trustees consider that there are no material uncertainties about the Charity's ability to continue as a goiiig coiicern. c> Income from doi)ations and other trading activities is brought in as the in¢oine arises. d) In¢om¢ from inveslin¢nts represents rental iiicome receivable. e) Advantage ha5 been taken within the provisions of ihc Stateincni of Recommending Praciice io show on tl)e Sialeinenl of Financial Activities cxpenditure classifications appropriate lo the Cliarity. 0 L¢aschold IIT]provements iiiitially recognised al historical cost and are beii)g writl¢n off over tlic period of the lease (20 years). gl I'rade and other debtors are recogni5ed at the settlemeiit amount due all¢r any trade discouni offcr¢d. Prepayments are valued at tlie ainount prepaid i)et of any discounts due. h) Cagli at bank and cash in liand only includes cash and the charity do nor hold any other short-tcrnilhighly liquid inve5tmeiits, i) Creditors and provisions Mre recogniscd where the charity has a present obligation resulting from a pasl cvent th 1500
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2023
660
2022
380
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2 _Structure_ Blackhorse Lane Open Studios - Jean-Pierre Mas Blackhorse Lane Open Studios - Elizabeth Demonchaux Fuse - ArtWorks Project Space 3 _Governance_ Blackhorse Lane Open Studios - Sandie M Sutton Fuse - ArtWorks Project Space 4 ## _Achievements_ ARTE - ArtWorks Project Space Exhibitions at Atrium Space Hertford Road Studios fell short of a target of 5 shows by 3 exhibitions. Each studio artist is expected to participate in a show curated around their work (including at least 2 artists not resident at the studios) once in every 3-year period. The shortfall was disappointing, but due in part, to a number of artists leaving the studios. The 5-year rent review at Blackhorse Lane Studios dragged on for most of the year – as in past rent reviews. The landlord was sticking out for an in crease of 56%. BAGT’s representatives were finally able to settle on 26%. Artist studios are rents are increasingly under pressure from the commercial sector. BAGT is essential providing studios to artists who do not earn from their work. They use the opportunity to research and develop their practice, whist generating income by other means notably from teaching and working for museums and galleries. Happily, Backhorse Lane studio artists were able to open their studios to the public. The event was well attended and greatly appreciated by the visitors in attendance. The total number of visitors for the year increased by 3.4%, rising from 1,192 to 1,232. The total time donated by artists increased by 2.4%, totaling 116 days at a value of £16,205. Onwards and Upwards - Atrium Space ARTE - ArtWorks Project Space -Pauline Evans Fuse - ArtWorks Project Space 5 ## _Acheivements_ ## **ArtWorks Project Space** **Keep Your Love On Ross Head, Neil Haas, Lissa Penny** ## Keep Your Love On For all the disgust desire harbours when spoken aloud, it remains a life force endowed with possibility. Like a choice garment, it can re-route our day’s trajectory, lensing our take on everyday ephemera and interactions that otherwise amount to nothing. Indeed, our whole mode of being recalibrates when we embrace ¬– or put on – our desire. For some, the dress-up is conspicuous. Your archetypal leatherman, for example, adopts a commanding prowess from the moment he steps into biker and chaps. For others, desire hides in plain sight, contained in that sweet spot of voyeur, dreamer and fantasist. Instead of flippant fetish objects, this plain-clothes opportunist wears an invisible jacket – common to one and all. Yes, you too are the lover: they who dials up their desire when the whimsy of a moment takes hold. But where do you put it once the encounter peters? In the UK, we contribute to some 3.5 tons of unrequited love and forgotten crushes a day, leaving it to rot in the great garbage heap of shame. Fortunately, a few traces are salvaged from the rubble. Artists Ross Head, Neil Haas and Lisa Penn¬¬y dedicate their practices to safeguarding these magical imagine-ifs, bridging the chasm between reality and fabulation. Forming a spectrum of intensity, together the trio chart desire from its infancy, through its growing pains, all the way to climax, balancing lust with endearment throughout. In Head’s work, desire flickers in trepidation, haunting the manicured tiles of a swimming bath. Overhead, figures peek and claw at cubicle walls, the heterosexual matrix hanging in the balance. From the artist’s gaze, a site of mundane leisure takes on mystical significance, presenting opportunities for intimacy between men that only emerge when one puts their love on. While the male forms and their conventional surroundings are sometimes hard to differentiate in the paintings, this synergy of body and space introduces an alternative utopia built on memory. José Esteban Muñoz calls this not-yet-here – often based on a once-was – the ‘ghosts of public sex’. Summoning memories from a pre-AIDs era of gay culture, the artist renders these spectres on canvas, defiantly reviving them for our present. In the vein of Muñoz, we might treat Head’s work as a threshold 6 ## _Achievements_ ## **ArtWorks Project Space** ## **Keep Your Love On** ## **Ross Head, Neil Haas, Lissa Penny** between sterile monotony and the joys of cruising, both literally and as a method of world building.[1] However, this method is not engaged without resistance, and tensions between abject (see queer) desire and the wholesome release of exercise butt heads. Artificial day-glow clashes against earthy hues; windows demarcate the natural world outside and the contained vat of water inside. Together, these dichotomies mimic the ever-contested lines between homosocial bonds and homosexuality, the former a member in the natural order, the latter at home in the sticky artifice of saunas and bars. If Head’s work is the foyer of desire where closeted steps towards fantasy begin, then Haas lights the way for its coming out. In these margins, the artist teeters between guilt and passing fancies, peeping through blinds at the boy next door before hastily closing them. At first, it sounds like a sad place, but with further immersion, its dreamy allure becomes clear. With Haas, stashed-away pin-ups from men’s fashion magazines of his youth move from the soft focus of his bedroom to the quasi-realities of his work. Rather than idling in the dead ends of repression or impossibility, he drafts something better: desire reified. The hunk’s curtained locks that vanish as soon as they appear are savoured with artistic license, and the woody notes of his fragrance are bottled for safekeeping. As this desire unravels further, a form of memory work begins. Items Haas once thought naff, in part because they revealed too much, return from the depths of adolescence. He finds himself infatuated by a leather jacket seen umpteen times before. Resplendent on a coated page, the prop of machismo enters his visual record of masculinity, romanticised further in colour pencil and flamboyance. In this vein, these markers of manhood verge on caricature, taking on a camp suggestion redolent of Warhol’s shoe illustrations. Allusions to the daredevil motorcyclist or mouthy punk are skewered by a queeny touch. Again, as Eve Sedgwick professed, homosocial spaces are always threatened with a potential to blossom into homosexual ones, and so masculinity is policed accordingly.[2] For Haas, this tension is fair game. Where Penny’s concerned, softening masculinity with subtle accoutrements – be it an earring, meticulous grooming or deliberate sartorial touches 7 ## _Acheivements_ ## **ArtWorks Project Space** ## **Keep Your Love On** ## **Ross Head, Neil Haas, Lissa Penny** – is part and parcel of her fascination with the male form. The splayed collar on a shirt or a man’s dramatic smoulder hark back to an original interest in eighties icons and dandyism, where effete touches trouble the performance of gender. It’s an ambiguity she cherishes, especially within a contemporary context of gender fluidity. Drawing on found imagery from gay porn, celebrity and Tinder, the artist confronts the problematics of anonymity in her work, often toiling with stylistic accessories and considered crops to control her distance from the subjects. By working across different planes, she can home in on peachy buttocks or the slick bulge below belted trousers, crystallising her desires without emotionally hurting herself or the mystery man. Of course, playing the field of dating apps can be a cold, if not clinical, affair, but Penny’s adoration for these fleeting characters reimbues the modern cruise with intimacy and vulnerability. At its most toxic, masculinity skews body image and behaviour, but at its best, it warrants sympathy and perhaps touch. Under Penny’s hand, the idyllic abs and bulging backs unwind, floating in bucolic settings, parkland and tropical paradise. Where blokey hedonism rears its head in today’s vice, cream chargers, dowelling and calico cloth provide a balm to bravado. Beyond pure sex, Penny’s renditions of men support a running theme throughout the show: To fancy, gaze upon and be attracted to the male form can be more fruitful than coitus itself. In manifesting their desires for men on canvas, paper or Venetian blinds, the artists continue to contest and complicate masculinity, singing desire’s praises beyond the rubric of etiquette in an ongoing cruise. Text by Joe Bobowicz [1] Muñoz, J. (2019) Cruising Utopia: The Then and There of Queer Futurity, New York: New York University Press. [2] Sedgwick, E. (1985) Between Men: English Literature and Male Homosocial Desire, New York: Columbia University Press. 8 ## _Achievements_ ## **ArtWorks Project Space** ## **Keep Your Love On** **Ross Head, Neil Haas, Lissa Penny** 9 ## _Acheivements_ ## **ArtWorks Project Space** ## **Squeeze** ## **Slade Fine Art Media Students** Slade Fine Art Media students used the project space to test their collective experience of installing and exhibiting their work prior to their interim show in the college. The opportunity is passed on annually annually to up coming students. The exhibition forms part of a developing relationship, now in it’s fourth year, between Fine Art Media students and BAGT. Yuvue He • Corrine Chan • Chika Annen • Yiwen Li • Isabelle Pead • Zifan Liu • Eva Bachmann • Kate Towsey • Sana Iqbal • Harry Smithson • Frederika Dalwood • Raphaella Pester • Jiayu Sun • Chaney Diao • Ivan Kashdan • Blithe Germ • Shoshana Kessler • Marietta Mavrokordatou 10 ## _Achievements_ ## **ArtWorks Project Space** ## **Twin Town** ## **Chloe Cooper and Nicky Sutton** An exhibition of new print-based work comparing the architectural masterplans of Thamesmead with those of Poundbury. Whilst Thamesmead was designed to be a modernist utopia, Poundbury was designed according to the traditionalist principles of Prince Charles. He was super-critical of places like Thamesmead, calling post-war housing “a victory of ideology and arrogance over humanity and common sense”. As residents of Thamesmead, the artists travelled to Poundbury to check out his alternative. Once they’d recovered, they began drawing, writing and desktop publishing to produce this show about nostalgia, taste, inequity, housing and hate. It’s a coronation special! Chloe and Nicky started working together in 2022, inspired by the sheer excitement of living near Abbey Wood station when the Elizabeth line opened. They rated every Elizabeth line station between Abbey Wood and Paddington in their first zine Tunnel Tourists. After entering Tunnel Tourists into ArtWorks Open 2022, they were awarded the exhibition prize by artist-selectors Louise Ashcroft @louiseashcroft1 and Jasleen Kaur @_jasleen.kaur. This is their first solo show. When they’re not making zines together Chloe marbles paper to make zines about knee pain, wearing glasses during Covid and drinking wine whilst working from home. She collaborates with composer and vibraphonist Jackie Walduck as Vibin n Marblin to make audiovisual performances. Here, Chloe’s marbling responds to Jackie’s music and vice versa, resulting in immersive video projections and mesmeric vibraphone soundscapes. Nicky puts her neurodiversity into dabbling with photography, pixel manipulation, multi-media mess-making and other, less productive studio practice. She is also an art therapist, a workshop facilitator, has fun green woodworking, and discovered that she is sometimes alright at being a small-time fundraiser. 11 ## _Acheivements_ ## **ArtWorks Project Space** ## **Fuse** ## **George Storm Fletcher** George Storm Fletcher is a performance artist, and menace. They are at their best when being outrageously queer, playful, and heartfelt. Their work focuses on the unimaginable effects of happenings and histories. In recent years this has manifested as a series of text-based interventions, with their trademark, immediate, DIY aesthetic. Grounded in Britain, their work plays with informal expressions and slang. Referencing domestic buildings and architectures, they use magnolia vinyl matt emulsion to root the work in their personal history. Fletcher’s piece, The First Rule of Assertiveness, was awarded a prize at 2022’s Artworks Open. It was selected by curators Jasleen Kaur and Louise Ashcroft. The prize consists of a residency and solo show at the Barbican Arts Group Trust. FUSE will open on Thursday the 24th of August at 6pm, in the ArtWorks Project Space. It will present three new works by Fletcher and a performance, Docky. Using found objects and their infamous hand-painted letters, Fletcher will question current narratives of renovation and the resurgence of ‘boundaries’. 12 ## _Achievements_ ## **ArtWorks Project Space** ## **Hope Over Experience** **Kally Laurence and Pen Dalton** The triumph of hope over experience”: a quotation from Dr Johnson referring to second marriage. We begin painting with an imagined ideal, a vague plan and a lot of optimism - hoping that this will be ‘The One’. But the painting has its own ideas- makes its own demands. We have to follow through responding to the realities of the materials and the limitations of our own experiences. We make it work .... 13 ## _Acheivements_ ## **ArtWorks Project Space** ## **Arte** **Blackhorse Lane Studios Show - Currated by Daniela Rizzi** Group show curated by DaniellaRizzi of recent wotk by the majorityof artistscurrently holding studios at Blackhorse Lane Studios. 14 ## _Achievements_ ## **ArtWorks Project Space** ## **ArtWorks Open** ## **Selected by Jasleen Kaur & Rudy Loewe** ## 1 **Art is powerful, but not powerful enough** What is the artist’s role in revolution? Rudy and I select the work for this show at a time when artists across the globe are holding institutions to account, signing letters of support, losing already precarious work, pounding the streets in their millions for Palestine. I am, amidst many moments of hopelessness, asking myself this question. When I lose faith in art and being an artist, like prayer, I open my well-thumbed copy of Lola Olufemi’s, Feminism, Interrupted at Chapter 6 titled Art for art’s sake. In the same way that Jeffrey dancing is painted repeatedly, studying it more than once is necessary to take in its fullness. I read it with my students; I read it with my collaborators in an attempt to propel us into action. Art is best utilised as a weapon, a writing back, as evidence that we were here. 2 The school hasn’t’t got much funding so the art provision is low. The Tories have hollowed out state education. After school he writes: FRE E EE E E on the back of his home made Palestinian flag, adds two sticks and holds it up above his head at The march. 3 The divide between politics and art is not real. In what looks like an archive image, a crowd of protestors carries a fellow protester horizontally above their heads. Some carry placards. It is an uprising. They are demanding justice. The deliberate blurring obscures their faces, protecting them from our gaze and reminds me of pleas to censor im ages of protestors before uploading to social media due to increased surveillance by the Met Police. The artist points towards history showing us that revolution is possible. History and the current moment are close. A black, brown and white body is connected by a pink gut like thread, through their ears. They are tethered through the act of listening together. Quantum Listening is listening in as many ways as possible simultaneously — changing and being changed by the listening. 4 Elsewhere a sea of people carry each other, through history and through time. Both artists conjure a kind of togetherness that is 1 The title is borrowed from a longer quote, ‘Art is powerful, but it is not powerful enough to undo centuries of colonial domination or climate catastrophe.’ Lola Olufemi, Feminism, Interrupted, p.85. 2 Lola Olufemi, Feminism, Interrupted, p.85. 3 Lola Olufemi, Feminism, Interrupted, p.87. 4 Pauline Oliveros, Quantum Listening, p.30. 15 ## _Acheivements_ ## **ArtWorks Project Space** ## **ArtWorks Open Selected by Jasleen Kaur & Rudy Loewe** 16 ## _Achievements_ ## **Blackhorse Lane Studios** ## **Open Studios** 27 studios artists at Blackhorse Lane studios open their studios to the public. There were 270 visitors over the weekend who saw over 170 works. 17 ## _Acheivements_ ## **Atrium Space** ## **Onwards and Upwards Eight Women Print** Eight Women Print is an art collective formed by artists who originally met on an advanced printing course at City Lit. They came together during Covid, tuning in on line each week to each others’ spaces, printing on their kitchen tables. Their distinctive identities, languages, cultures, ideals, and narratives are an integral part of their art and collective practice. Onwards, upwards, is their third show, and opens on the second anniversary of their official launch as a group. The exhibition coincided with International Women’s Day, celebrating and shining a light on the plight and treatment of women around the world. The collectives objective it’s to show that print is not just “pretty”, reproduced work on paper. It can take shape of something that is 3-D or conceptual. It can be painterly, sculptural or woven in. A print can lead to interesting unfinished spaces. A series of accidents, processes, or ripped up work repurposed and recycled; immersing us in a memory, or a story, a musing. 18 ## _Acheivements_ ## **Atrium Space** ## **RAW Curated by JJ Morgan** Claire Brewster ◆ Mari Fujii-Pratt ◆ Lindsay Mapes ◆ JJ Morgan ◆ Vesna Parche ◆ Ingrid Petersen Raw brings together six women artists in a celebration of the tactile; the real; the handmade. All of these are evident in the artist’s mark which touches us today as viscerally as pre-historic handprints have always done, reminding us that, no matter who we are, we recognise the human signal that ‘I am here’: living, breathing, going about life in all its messy, chaotic uncertainty and through the medium of a friable body in a frangible world. In this, we are interconnected despite the invidious taxonomy of class, race, religion, gender and in the face of the increasing incursions of digitalisation. Through this indexical sign of the hand at work, Raw captures decisions made in a specific moment and with specific materials, isolating something evanescent that will never quite happen again; the fly in amber; the nano-second that flies away, the molecules that collide. 19 ## _Objectives_ ArtWorks Open- ArtWorks Project Space RAW - Atrium Space - Schedule new shows for Atrium Space - Appoint new Trustee - Challenge rateable value of Hertford Rd Studios - Form proposal to purchase Hertford Road studio building - Negotiate extension to lease on Blackhorse Lane Studios 20 ## _Time Donated_ ## ## ## ## |**2023**|**Total Time worked 810.25**|**Total days/Year 116**
**Value**|**£16,205.00**|**£16,205.00**|| |---|---|---|---|---|---| |**379**
**Keep Your**|**Love On**|**Total hours donated to project**|**64**||| |Lisa Penny|Planning / prep|exhibition planning|5||| |Lisa Penny|Planning / prep|install exhibition|5||| |Lisa Penny|Visitor experience|invigilation|24||| |Neil Haas|Planning / prep|publicity|2||| |Neil Haas|Visitor experience|invigilation|12||| |Ross Head|Visitor experience|invigilation|6||| |Ross Head|Planning / prep|install exhibition|3||| |Neil Haas|Planning / prep|install exhibition|2||| |Ross Head|Planning / prep|press release|1||| |Lisa Penny|Planning / prep|de-rig exhibition|2||| |Ross Head|Planning / prep|de-rig exhibition|2||| |**380**
**Eight Women Print**||**Total hours donated to project**|**73.5**||| |Lorena Herrero|Planning / prep|exhibition planning|3||| |Lorena Herrero|Planning / prep|poster|1||| |Lorena Herrero|Visitor experience|install exhibition|3||| |Lorena Herrero|Publicity|poster|2||| |Lorena Herrero|General help|de-rig exhibition|2.5||| |Lorena Herrero|Visitor experience|invigilation|12||| |Jenny Crispin|Visitor experience|invigilation|12||| |Sarrah El-Bushra|Visitor experience|invigilation|6||| |Giorgia Grassini|Visitor experience|invigilation|6||| |Alpana Kishore|Visitor experience|invigilation|6||| |Jane Laborie|Visitor experience|invigilation|6||| |Jenny Crispin|Visitor experience|exhibition participant|1||| |Sarrah El-Bushra|Visitor experience|exhibition participant|1||| |Giorgia Grassini|Visitor experience|exhibition participant|1||| |Alpana Kishore|Visitor experience|exhibition participant|1||| |Jane Laborie|Visitor experience|exhibition participant|1||| |D M O'Leary|Visitor experience|exhibition participant|1||| |Eleanor Morris|Visitor experience|exhibition participant|1||| |D M O'Leary|Planning / prep|install exhibition|2||| |Jane Laborie|Planning / prep|install exhibition|3||| |Alpana Kishore|Planning / prep|install exhibition|2||| |**381**
**RAW**||**Total hours donated to project**|**95**||| |J J Morgan|Planning / prep|Curation|7||| |J J Morgan|Visitor experience|invigilation|6||| |J J Morgan|Planning / prep|install exhibition|5||| |J J Morgan|Planning / prep|de-rig exhibition|3||| |J J Morgan|Planning / prep|publicity|1.5||| |Claire Brewster|Planning / prep|Curation|2||| |Claire Brewster|Planning / prep|install exhibition|4||| |Claire Brewster|Visitor experience|invigilation|6||| ||11/10/2024||||1| 21 ## _Time Donated_ ## ## ## ## |**Con**|**Tas**|**Task**
|**Time**|| |---|---|---|---|---| |Claire Brewster|Planning / prep|de-rig exhibition|6|| |Mari Fujii-Pratt|Planning / prep|Curation|2|| |Mari Fujii-Pratt|Planning / prep|invigilation|6|| |Mari Fujii-Pratt|Planning / prep|install exhibition|4|| |Mari Fujii-Pratt|Planning / prep|de-rig exhibition|2|| |Mari Fujii-Pratt|Planning / prep|publicity|1.5|| |Lindsay Mapes|Planning / prep|Curation|2|| |Lindsay Mapes|Visitor experience|invigilation|6|| |Lindsay Mapes|Planning / prep|install exhibition|3|| |Lindsay Mapes|Planning / prep|de-rig exhibition|1.5|| |Lindsay Mapes|Planning / prep|publicity|2.5|| |Vesna Parchet|Planning / prep|Curation|2|| |Vesna Parchet|Visitor experience|invigilation|6|| |Vesna Parchet|Planning / prep|install exhibition|2|| |Vesna Parchet|Planning / prep|de-rig exhibition|1|| |Ingrid Petersen|Planning / prep|Curation|1|| |Ingrid Petersen|Planning / prep|install exhibition|3|| |Ingrid Petersen|Planning / prep|de-rig exhibition|1|| |Ingrid Petersen|Visitor experience|invigilation|6|| |Ingrid Petersen|Planning / prep|publicity|2|| |**384**
**Squeeze - Slade**|**Show**|**Total hours donated to project**|**78**|| |Marietta|Visitor experience|exhibition participant|1|| |Marietta|Visitor experience|exhibition planning|1|| |Shoshana Kessler|Visitor experience|exhibition participant|1|| |Shoshana Kessler|Visitor experience|exhibition planning|1|| |Blithe Germ|Visitor experience|exhibition planning|1|| |Blithe Germ|Visitor experience|exhibition participant|1|| |Chaney Diao|Visitor experience|exhibition participant|1|| |Chaney Diao|Visitor experience|exhibition planning|1|| |Jiayu Sun|Visitor experience|exhibition planning|1|| |Jiayu Sun|Visitor experience|exhibition participant|1|| |Raphaella Pester|Visitor experience|exhibition participant|1|| |Raphaella Pester|Visitor experience|exhibition planning|1|| |Frederika Dalwood|Visitor experience|exhibition planning|1|| |Frederika Dalwood|Visitor experience|exhibition participant|1|| |Harry Smithson|Visitor experience|exhibition participant|1|| |Harry Smithson|Visitor experience|exhibition planning|1|| |ySana Iqbal|Visitor experience|exhibition planning|1|| |ySana Iqbal|Visitor experience|exhibition participant|1|| |Kate Towse|Visitor experience|exhibition participant|1|| |Kate Towse|Visitor experience|exhibition planning|1|| |Zifan Lui|Visitor experience|exhibition planning|1|| |Zifan Lui|Visitor experience|exhibition participant|1|| |Isabelle Pead|Visitor experience|exhibition participant|1|| |||11/10/2024||2| 22 ## _**Time Donated**_ ## ## ## ## |**Con**|**Tas**|**Task**
|**Time**|| |---|---|---|---|---| |Isabelle Pead|Visitor experience|exhibition planning|1|| |Yiwen Li|Visitor experience|exhibition planning|1|| |Yiwen Li|Visitor experience|exhibition participant|1|| |Chika Annen|Visitor experience|exhibition participant|1|| |Chika Annen|Visitor experience|exhibition planning|1|| |Corrine Chan|Visitor experience|exhibition planning|1|| |Corrine Chan|Visitor experience|exhibition participant|1|| |Yuvue He|Visitor experience|exhibition participant|1|| |Yuvue He|Visitor experience|exhibition planning|1|| |Ivan Kashdan|Visitor experience|exhibition participant|1|| |Ivan Kashdan|Visitor experience|exhibition planning|4|| |Ivan Kashdan|Visitor experience|install exhibition|5|| |Ivan Kashdan|Visitor experience|invigilation|7|| |Ivan Kashdan|Visitor experience|de-rig exhibition|3|| |Corrine Chan|Visitor experience|invigilation|7|| |Isabelle Pead|Visitor experience|invigilation|7|| |Kate Towse|Visitor experience|invigilation|7|| |Zifan Lui|Visitor experience|de-rig exhibition|2|| |Harry Smithson|Visitor experience|install exhibition|3|| |**385**
**TWIN TOWN - Chloe Cooper and**||**Total hours donated to project**|**47.5**|| |Nicky Sutton|Planning / prep|exhibition planning|3|| |Chloe Cooper|Planning / prep|poster|2|| |Nicky Sutton|Planning / prep|press release|2.5|| |Nicky Sutton|Visitor experience|invigilation|14|| |Chloe Cooper|Visitor experience|invigilation|10|| |Nicky Sutton|Planning / prep|install exhibition|6|| |Chloe Cooper|Planning / prep|install exhibition|4.5|| |Nicky Sutton|Planning / prep|de-rig exhibition|2.5|| |Chloe Cooper|Planning / prep|de-rig exhibition|3|| |**386**
**Fuse-George Storm Fletcher**||**Total hours donated to project**|**11.5**|| |George Storm Fletcher|Planning / prep|Curation|3|| |George Storm Fletcher|Visitor experience|install exhibition|4|| |George Storm Fletcher|Visitor experience|de-rig exhibition|2.5|| |George Storm Fletcher|Visitor experience|performance|2|| |**389**
**ArtWorks Open - 2023**||**Total hours donated to project**|**20**|| |JASLEEN KAUR|Planning / prep|selector|6|| |JASLEEN KAUR|Prize Awards||4|| |Rudy Loewe|Planning / prep|selector|6|| |Rudy Loewe|Prize Awards||4|| |**392**
**Hope Over Experience Kally**||**Total hours donated to project**|**37**|| |Kally Laurence|Planning / prep|Curation|5|| |Kally Laurence|Visitor experience|invigilation|8|| |Kally Laurence|Visitor experience|install exhibition|4|| |Kally Laurence|Visitor experience|de-rig exhibition|2|| |||11/10/2024||3| 23 ## _Time Donated_ |**Contributor**
Pen Dalton|**Task Main**
Planning / prep|**Task Sub**
Curation|**Time worked**
3||| |---|---|---|---|---|---| |Pen Dalton|Visitor experience|invigilation|8||| |Pen Dalton|Planning / prep|install exhibition|2||| |Pen Dalton|Planning / prep|de-rig exhibition|2||| |Pen Dalton|Planning / prep|publicity|3||| |**395**
**BHL Open Studios**||**Total hours donated to project**|**309**||| |Neil Irons|Studios Committee||6||| |Neil Irons|Visitor experience|open studios|15||| |Franki Austin|Visitor experience|open studios|15||| |Lucile Montague|Visitor experience|open studios|15||| |William Stok|Visitor experience|open studios|15||| |Valerie Large|Visitor experience|open studios|15||| |Tam Joseph|Visitor experience|open studios|15||| |Elizabeth de Monchaux|Visitor experience|open studios|15||| |Matthew Krishanu|Visitor experience|open studios|15||| |Matthew Krishanu|Visitor experience|open studios|15||| |Julie Caves|Visitor experience|open studios|15||| |Sandie M Sutton|Visitor experience|open studios|15||| |Pauline Evans|Visitor experience|open studios|15||| |Daniela Rizzi|Visitor experience|open studios|15||| |Daniela Rizzi|Studios Committee||6||| |Charlotte Gerrard|Visitor experience|open studios|15||| |Charlotte Gerrard|Studios Committee||6||| |Helen Maurer|Visitor experience|open studios|15||| |Anja Borowicz|Visitor experience|open studios|15||| |Anja Borowicz|Studios Committee||6||| |Barry Sykes|Visitor experience|open studios|15||| |Nickie Counsell|Did not participate||0||| |Noga Shatz|Visitor experience|open studios|15||| |Luigi Rizzo|Did not participate||0||| |Emma Talbot|Did not participate||0||| |Julika Gittner|Did not participate||0||| |Jean-Pierre Mas|Visitor experience|open studios|15||| |**421**
**In Circles**||**Total hours donated to project**|**31**||| |Valerie Large|Planning / prep||9||| |Valerie Large|Planning / prep|install exhibition|5||| |Valerie Large|Planning / prep|de-rig exhibition|3||| |Valerie Large|Planning / prep|publicity|2||| |William Stok|Planning / prep|install exhibition|9||| |William Stok|Planning / prep|de-rig exhibition|3||| |**424**
**ARTE - BHL Studio show**||**Total hours donated to project**|**43.75**||| |Daniela Rizzi|Planning / prep|exhibition planning|6||| |Daniela Rizzi|Visitor experience|install exhibition|9||| |Daniela Rizzi|Visitor experience|exhibition participant|.25||| |||11/10/2024|||4| 24 ## _Time Donated_ ## ## ## ## |**Con**|**Tas**|**Task**
|**Time**| |---|---|---|---| |Rebecca Munday|Visitor experience|exhibition participant|.25| |Rebecca Munday|Visitor experience|install exhibition|5| |Rebecca Munday|Planning / prep|de-rig exhibition|3| |Daniela Rizzi|Planning / prep|de-rig exhibition|| |Daniela Rizzi|Planning / prep|publicity|2| |Sandie M Sutton|Visitor experience|exhibition participant|.25| |Sandie M Sutton|Visitor experience|install exhibition|3| |Sandie M Sutton|Planning / prep|de-rig exhibition|2.5| |Neil Irons|Visitor experience|exhibition participant|.25| |Neil Irons|Planning / prep|de-rig exhibition|2| |Franki Austin|Visitor experience|exhibition participant|.25| |Anja Borowicz|Visitor experience|exhibition participant|.25| |Julie Caves|Visitor experience|exhibition participant|.25| |Elizabeth de Monchaux|Visitor experience|exhibition participant|.25| |Pauline Evans|Visitor experience|exhibition participant|.25| |Pauline Evans|Visitor experience|install exhibition|3| |Pauline Evans|Planning / prep|de-rig exhibition|2.5| |Charlotte Gerrard|Visitor experience|exhibition participant|.25| |Tam Joseph|Visitor experience|exhibition participant|.25| |Matthew Krishanu|Visitor experience|exhibition participant|.25| |Valerie Large|Visitor experience|exhibition participant|.25| |Kally Laurence|Visitor experience|exhibition participant|.25| |Jean-Pierre Mas|Visitor experience|exhibition participant|.25| |Helen Maurer|Visitor experience|exhibition participant|.25| |Lucile Montague|Visitor experience|exhibition participant|.25| |Jonet Harley-Peters|Visitor experience|exhibition participant|.25| |Emma Shankland|Visitor experience|exhibition participant|.25| |Noga Shatz|Visitor experience|exhibition participant|.25| |YiMiao Shih|Visitor experience|exhibition participant|.25| |William Stok|Visitor experience|exhibition participant|.25| |Barry Sykes|Visitor experience|exhibition participant|.25| 5 11/10/2024 25 ## _Audience_ |**Project**
**Artist**
**Project Category**
**Status**|**Project**
**Artist**
**Project Category**
**Status**|**Artists**
**Actual**
**Expected**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists’ time in kind**
**Hours**
**Days**
**Value**| |---|---|---|---|---|---|---| ||||**Artists Talk**
**Actual**
**Expected**|**Attending**
**Actual**
**Expected**||| |**Totals actual**||**80**||**1232**|**1232**|**111.3**
**£15,585.0**| |**Totals expected**||**114**||**1735**|**1735**|| ||**Keep Your Love On**
Lisa Penny
**Completed**|3
3
100.0%||75
75
100.0%||64.0
9.1
£1,280.0| ||**PROFESSIONAL DEVELOPMENT**
Helen Maurer
**Completed**|||||| ||**Eight Women Print**
8
8
100.0%
Lorena Herrero
**Completed**|||75
70
107.1%||73.5
10.5
£1,470.0| ||**Squeeze - Slade Show**
17
17
100.0%
Ivan Kashdan
**Completed**|||65
70
92.9%||78.0
11.1
£1,560.0| ||**Birthday Party**
Barry Sykes
**Completed**|||||| ||**TWIN TOWN - Chloe Cooper and Nicky Sutton**
Nicky Sutton
**Completed**|||80
70
114.3%||47.5
6.8
£950.0| 26 ## _Audience_ |**Project**
**Artists**
**Actual**
**Expected**
**Artist**
**Project Category**
**Status**
**Tam Joseph - Photo Shoot**
Tam Joseph
**Booking**
**Completed**|**Project**
**Artists**
**Actual**
**Expected**
**Artist**
**Project Category**
**Status**
**Tam Joseph - Photo Shoot**
Tam Joseph
**Booking**
**Completed**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|||| |---|---|---|---|---|---|---|---| ||||||**Artists’ time in kind**
**Hours**
**Days**
**Value**||| |||**Artists Talk**
**Actual**
**Expected**|**Attending**
**Actual**
**Expected**||||| ||||||||| ||**RAW**
6
6
100.0%
J J Morgan
**BAGT Project**
**Completed**||70
70
100.0%||95.0
13.6
£1,900.0||| ||**AWO - Residency 2 Xueyang Xia**
Xueyang Xia
**Cancelled**||||||| ||**Fuse-George Storm Fletcher**
1
1
100.0%
George Storm Fletcher
**Completed**||25
30
83.3%||11.5
1.6
£230.0||| ||**The Open Art Club CIC**
Noga Shatz
**Cancelled**||||||| ||**BHL Open Studios**
28
Neil Irons
**Completed**||250
500
50.0%||309.0
44.1
£6,180.0||| ||**AWO - Residency 1**
**Cancelled**||||||| 27 ## _Audience_ |**Project**
**Artist**
**Project Category**
**Status**
**Atrium Show**
Amanda Lwin
**Pending**|**Project**
**Artist**
**Project Category**
**Status**
**Atrium Show**
Amanda Lwin
**Pending**|**Artists**
**Actual**
**Expected**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|**Artists Talk**
**Actual**
**Expected**
**Attending**
**Actual**
**Expected**
**Audience Total**
**AUDIENCE**|||| |---|---|---|---|---|---|---|---|---| |||||||**Artists’ time in kind**
**Hours**
**Days**
**Value**||| ||||**Artists Talk**
**Actual**
**Expected**|**Attending**
**Actual**
**Expected**||||| |||||||||| ||**Hope Over Experience Kally Laurence & Pen**
2
2
100.0%
Kally Laurence
**Completed**|||42
50
84.0%||37.0
5.3
£740.0||| ||**ArtWorks Open - 2023**
20
21
95.2%
Mark Wainwright
**Completed**|||280
300
93.3%||20.0
2.9
£400.0||| ||**Professional Developement**
Rudy Loewe
**Completed**|||||||| ||**Professional development**
Noga Shatz
**Cancelled**|||||||| ||**Art Materials for children**
Justyna Traczyk
**Inprogress**|||||||| ||**ARTE - BHL Studio show**
23
28
82.1%
Daniela Rizzi
**Completed**|||270
500
54.0%||43.8
6.3
£875.0||| ||**Completed**|||||||| 28