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2021-03-31-accounts

Charity number: 1165046

Film and Video Umbrella

Report of the Trustees and Unaudited Financial Statements

For the year ended 31 March 2021

Film and Video Umbrella Contents Page For the year ended 31 March 2021

Report of the Trustees 1 to 14
Independent Examiner's Report to the Trustees 15
Statement of Financial Activities 16
Statement of Financial Position 17
Cashflow statement 18
Notes to the Financial Statements 19 to 26
Detailed Statement of Financial Activities 27 to 28

Report of the Trustees 2020-21

REMAN SADANI, Walkout 1 , 2020, installation at Jerwood Arts. Photo Anna Arca.

Objectives and Activities

FVU Charitable Objects

The objects of the CIO are, for the public benefit to:

What FVU Does

FVU specialises in curating, commissioning, producing, presenting and touring artists’ moving-image work in the UK and internationally.

Since its inception in 1988, FVU’s raison d’etre has been to bring outstanding examples of artists’ moving image to new and diverse audiences across the UK, and to popularise this exciting and vibrant artform to people who might not already know it, or lack an opportunity to see it. Although FVU made its name presenting and promoting existing works from the fields of video art and experimental film, our mainstay now (as it has been for some time) is the commissioning and production of new moving-image works by artists. The works that we make are usually developed in close collaboration with venues across the country, who contribute funding, act as curatorial partners and showcase the resulting pieces, which often travel between two to three such partner venues, generally in Great Britain, but occasionally abroad. We usually commission five to six (though this number is increasing to eight to ten with the expansion of our online work) of these pieces a year, and it is our aim that they exemplify different creative approaches to the moving image (from film to digital, and often with a cross-artform, or broader interdisciplinary character). The finished works are shown in a variety of exhibition contexts, including galleries, cinemas and other public spaces, as well as online. We also aspire that they communicate a range of contemporary subjects and themes that will reverberate with different audiences. FVU's promotional and publishing activities (in print and online) are equally carefully considered with different audiences in mind, and the talks and events we curate to accompany the stagings of our commissions are designed to offer further opportunities for the public to access and engage with our work.

A concurrent and intertwining aspect of FVU’s mission is to identify and nurture talent, and give it the widest possible exposure, while enabling it to realise its fullest potential. We do this by offering high-level professional support throughout all stages of a project’s development and production – a commitment to excellence that extends to the care and knowhow we bring to its public presentation. We enable artists to make step-change works, acting as a safe pair of hands in which they can expand or experiment with their practice, working with new technologies, new ideas, or introducing them to and enabling them to collaborate with specialist expertise. Often working with early-career artists, we have a knack of identifying the Turner Prize winners and nominees of the future: including Duncan Campbell, Luke Fowler, Isaac Julien, Janice Kerbel, Mark Leckey and Imran Peretta. We have repeatedly commissioned breakthrough or step-change pieces that have taken artists’ works to new or larger audiences than they might have received before - thereby enhancing their national and international profiles.

FVU Vision Statement

Moving image is the most relevant and dynamic medium of our times. Film and Video Umbrella facilitates and advances artists’ work in the moving image, sharing that work with an increasingly wide, diverse and engaged audience.

FVU Mission Statement

Film and Video Umbrella will enable artists to make challenging, innovative moving image works that are a step-change in their practice, and ensures that those works are experienced and appreciated by wide and diverse audiences.

behind the scenes on NADEEM DIN-GABISI, MASS , 2020

FVU Aims

FVU will deliver its artistic programme according to the following aims, which have been refreshed in early 2021:

  1. To deliver a broad and diverse artistic programme: a variety of projects nurtured for their artistic merit, scope and ambition and underwritten by FVU’s impeccable track record of quality and delivery.

  2. To support emerging artists who have not previously been commissioned, as well as more experienced artists who are on the threshold of becoming more established, where they lack the requisite backing from other sources to do so, to make work that reflects a step-change in their practice, providing a safe pair of hands in which they can push their ideas, try out new ways of working, and experiment with new technologies or interdisciplinary practices.

  3. To appeal to wide and diverse audiences via multiple different media, presentation methods and platforms.

  4. To foster an ethos of collaboration to develop innovative initiatives with galleries and other venues as well as organisations outside of the sector, both nationally and internationally, that can result in projects with the capacity to excite and cross-pollinate our audiences and expand on our genuinely national reach.

  5. To commission artists, engage a workforce and an audience that represents the diverse voices of the UK and elevate those voices to forward positive change and bring about equity both within and without the organisation.

  6. To offer our expertise and experience in commissioning and presenting artists’ moving image to individuals and organisations who may benefit.

  7. To be a dynamic and sustainable organisation, creatively, environmentally and financially.

FVU Principles and Values

In 2021, working with our trustees, with consideration to ACE’s Investment Principles, and with thorough staff consultation, we developed the following principles and values to guide the organisation’s work into the future:

Artist Centred: The interests of artists drive our activities. We work to facilitate the visions of artists and aim to have a positive and transformative impact on their careers.

Relevant and Responsive: Our work is relevant to the audiences we serve, and responds to their feedback, prioritising the quality of their experience.

Bridge Builders Between Artists and Audiences: We have a duty to act as a bridge between the artist’s intentions and the audience, to render work engaging and intelligible.

Trusted: We act with integrity and responsibility so that we can always be trusted by the individuals and organisations who we work with.

Diverse and Inclusive: We know we are not there yet, but we are committed to ongoing learning and change to create true equity, and to proactively removing obstacles to participation in our field.

Risk-Taking and Experimental: We aspire to creative innovation – to avoid repetition and to challenge and push the scope of artists, audiences, the medium and ourselves.

Collaborative: Everything we do is a collaboration with an artist, and often multiple other creative parties and organisations, and we are committed to going on a positive collaborative journey on every project.

Advocates and Critical Friends: We have a duty to advocate for the artists and organisations that we work with, but also a duty of candour, and we are committed to providing constructive responses, and to challenging poor practices within the organisation and without.

Prioritise the Emerging and Under-Supported: Emerging artists will always take up at least 50% of our programme, and we want to back the talents who are struggling to find support elsewhere.

Drivers of High Quality: We are dedicated to creating the highest quality of work, articulated through a diverse range of methods, aesthetics and forms, where the definition of excellence is never static nor repetitive, and is instead open to subversion and reinvention.

Environmentally Aware: We are committed to taking steps to reducing our environmental impact with the ambition to become carbon neutral by 2030.

Statement on public benefit

The trustees have considered the Charity Commission's guidance on public benefit, including the guidance 'public benefit: running a charity (PB2)'.

Achievements and Performance Significant Activities between April 2020 - March 2021

2020-21 was a challenging year for Film and Video Umbrella in which world events significantly impacted our activities, the most substantial of these being the Covid-19 pandemic. The pandemic necessitated that our small team cease the use of our office, and we have been primarily working from home ever since. It also meant that the extremely busy year of exhibitions that had been planned, with shows by Sutapa Biswas, Helen Cammock, Sophie Cundale, Patrick Goddard, Patrick Hough, Guy Oliver, Reman Sadani, Georgina Starr and Marianna Simnett, were all re-scheduled (and often re-scheduled multiple times). All as a result, have, or will suffer substantial losses to in-person audiences, something we have been trying to compensate for in most instances, by providing alternative online access. This is something we are keen to continue beyond the pandemic, not just to grow our audiences, but to provide access to people, who for reasons of disability, distance or economics are unable to travel across the country to our shows.

Despite the pandemic, we did nevertheless manage to launch seven new commissions in the 2020-21 year, as detailed below:

Nadeem Din-Gabisi: ‘MASS’

NADEEM DIN-GABISI, MASS , 2020

Completed just prior to lockdown, for an exhibition to be held in Peckham, we changed course from the planned physical exhibition, to an online only presentation of Nadeem DinGabisi’s ‘MASS’, a work which, inspired by Tina Campt’s concept of ‘Black visual frequencies’, sought to communicate with Black communities via common visual and aural languages. We had swiftly adapted the FVU website to facilitate hosting work in this way, and also presented our first online panel discussion event that revealed the musical and cinematographic collaborations behind this work.

Jerwood/FVU Awards 2020 | Guy Oliver: ‘You Know Nothing of My Work’ and Reman Sadani: ‘Walkout 1’

GUY OLIVER, You Know Nothing of My Work , 2020 REMAN SADANI, Walkout 1 , 2020

Originally scheduled to open in April 2020, the Jerwood/FVU Awards 2020, featuring commissions by Guy Oliver and Reman Sadani, was postponed to October 2020, and opened, to socially distanced audiences, for just under a week, before promptly being forced to close again. We had however adapted the Jerwood/FVU Awards website to be able to host the exhibition, all events and parallel contextual material online, which actually garnered the exhibition five times the audiences that it would usually have received.

Guy Oliver’s ‘You Know Nothing of My Work’ was an audacious musical that confronted the thorny issue of how we deal with the artworks and outputs of the seemingly numerous, and once highly regarded men, who had since been confirmed to be sex pests, rapists and paedophiles. As a direct result of this work, Guy Oliver has been nominated for the prestigious Jarman Award.

Reman Sadani’s ‘Walkout 1’ drew from her experience of growing up in the Middle East, and via a fantastical narrative, examined how younger generations can confront and change course, to move away from the grand narratives handed down by older generations.

Jerwood/FVU Awards 2022

We also launched the call for entries for the 2022 edition of the Jerwood/FVU Awards, under a revised format, offering two artists £25K and sustained production support from FVU, to each make new works that will be presented at Leeds Art Gallery and Jerwood Arts in 2022.

BEYOND #1

DE’ANNE CROOKS, Great-ish: The Gaslighting of a Nation , 2020 KYLA HARRIS & LOU MACNAMARA, It’s Personal , 2021

CAL MAC, Agony to Ecstasy , 2020 CHRIS ZHONGTIAN YUAN, Wuhan Punk , 2020

The remaining four commissions we released were part of a brand-new commissioning strand that we developed in direct response to the pandemic, titled ‘BEYOND’. When the pandemic hit, we swiftly realised that freelance artists, who in many instances found themselves ineligible for the government’s financial support packages, and who were having exhibitions and projects cancelled and postponed left, right and centre, were in dire need of opportunities. We also realised that the pandemic was going to prevent us from working in our usual ways, i.e. with cast and crew working in a hands-on way and in close-proximity, and we needed to find a means to support artists at a distance. This aligned with a scheme we had been developing, in order to diversify the types of artists’ work that we supported, by working with artists whose practices are more self-sufficient and do not require the expanded hands-on production support that was our modus operandi, but who nevertheless required curatorial, institutional and production support. We adapted and fast-tracked this scheme for the pandemic, launching a call for entries in April 2020, receiving more than 750 applications. We had planned to commission four new films, but given the overwhelming response, we encouraged the panel to select seven: De’Anne Crooks; Kyla Harris & Lou Macnamara; Kondo Heller; Cal Mac; Moyin Saka; Maryam Tafakory and Chris Zhongtian Yuan. Four of these were then released within the financial year:

De’Anne Crooks’ ‘Great-ish: The Gaslighting of a Nation’ in the form of a letter to her unborn child, told of the pain of growing up in a racist country that is in denial about its own racism.

Kyla Harris & Lou Macnamara’s ‘It’s Personal’ offered a frank and humorous insight into disability and personal care, via a reality TV-esque challenge in which Lou attempts to learn all of Kyla’s 24-hour care needs in one week – exploring questions of disability, agency and interdependence. The response to this work in particular, was overwhelming – with audiences extremely keen to tell us how much they loved it, and to demand more! We received numerous lengthy written comments, often featuring statements like:

Cal Mac’s ‘Agony to Ecstasy’ poetically explored the pleasures and pains caused by substance addiction and withdrawal from close company, drawing on his experiences in the Edinburgh club scene.

Chris Zhongtian Yuan’s ‘Wuhan Punk’ followed the mysterious disappearance of one of the key members of the 90s Punk scene in their now infamous hometown of Wuhan. Zhongtian Yuan’s work has since toured internationally, and they were invited to present it at the final Frank Davis Memorial Lecture for the world renowned Courtauld Institute of art.

Each work was presented on the new FVU website, that we adapted at the start of the pandemic to be able to host a growing library of films and writing, with each film accompanied by a specially commissioned text addressing its themes.

Expanded Online Programme

In the months where we were not launching new commissions as part of BEYOND, we presented one or more works from our archive, with new or historic texts to illuminate them. This expanded programme of online work has allowed FVU a rare opportunity to build a relationship directly with our audiences and to start to expand our understanding of who FVU’s own audiences actually are, and what they want. This is something that has historically been challenging for FVU, presenting work as we usually do, in third party venues, where the majority of audiences attending are local to the venue, and not visiting specifically as a result of FVU’s involvement. This online work is something that we therefore plan to continue and expand on beyond the pandemic. Indeed we have successfully fundraised to support a second edition of ‘BEYOND’ as well as another online project for the 2021-22 year.

Access

Spurred by the online work that we were doing, as well as the examples set by the artists who we were working with, we worked to expand our offer to D/deaf, blind and partially sighted communities. We have been captioning all content released online from full-length works to clips, trailers and artist interviews. In addition we are audio describing all works specifically commissioned for online presentation. We have found this to be a huge learning curve, but one that is immensely beneficial and worthwhile.

In Production

Because of the uncertainty and changes to our working practices necessitated by the pandemic, we postponed the production of our Helen Cammock work for an additional year (it had already been postponed to allow Helen to focus on the Turner Prize when she was nominated for that). We did however manage to squeeze between lockdowns, the production of two larger-scale works by Patrick Goddard and Sutapa Biswas, in time for their postponed exhibitions now scheduled for 2021-22.

Michael O’Pray Prize 2020

2020/21 also saw the fourth edition of the Michael O'Pray Prize for emerging creative and critical writers on the moving image. In 2020 we changed the format of the prize so that applicants were not required to author a new text. Rather they were invited to submit existing writing, alongside a short pitch for a new text, three of which were then selected to be authored, with a £500 prize for the winning text, and two £250 prizes for each of the runners up. All three new texts were then published by Art Monthly and FVU. This shift in format was undertaken so as to lower the barriers to entry, in the hopes of encouraging a greater diversity of applicant. This change certainly expanded the numbers of applications dramatically, while also bringing about a modest diversification of applicant background (we have further work to do here). The 2020 Michael O’Pray Prize winner and runners up were Mimi Howard, Harvey Diamond and Rachel Pronger respectively.

International Touring

Meanwhile several past commissions were sporadically able to continue their international tours, most notably Elizabeth Price’s ‘FELT TIP’ was presented by Artangel at a space in London over the summer, while Sophie Cundale’s ‘The Near Room’, having been closed prematurely, was eventually able to re-open at South London Gallery, and then tour to Bonington Gallery in Nottingham. Rachel Maclean’s ‘Feed Me’ was exhibited at Kunsthalle zu Kiel; Rob Crosse’s ‘Prime Time’ was exhibited at Museum Angewandte Kunst, Frankfurt as part of the 2021 Ars Viva Award; Eileen Simpson and Ben White’s ‘Everything I Have is Yours’ was exhibited at BY ART MATTERS, Hangzhou; Marianna Simnett’s ‘The Bird Game’ was exhibited at City Gallery, Wellington.

Many past FVU commissions were also invited into online exhibitions through the year including works by Patrick Hough, Lawrence Lek, Hetain Patel, Imran Peretta, Reman Sadani, Marianna Simnett, Eileen Simpson & Ben White and Richard Whitby.

SOPHIE CUNDALE, The Near Room , 2020, installation at South London Gallery

Achievements Against Objectives

Of the nine artists commissioned to make moving image commissions that were released in 2020/21:

In the year, despite Covid-19, FVU's work featured in 11 IRL exhibitions and 3 IRL screenings across the UK and internationally as well as 11 events/education sessions that took place in person and online. In addition there were 63 online presentations of our commissions. Across the year there were 3,898 exhibition days, reaching audiences of 181,009. Only 3% of our exhibitions, screenings and events took place in London, with 4% of our audiences experiencing work in the capital. Through our increased online work, we more than doubled the number of visits to our websites, with 89,456 visits and we had 35,955 online video plays.

We evaluate the quality of our work using the Impact and Insight Toolkit. This invites peers and audiences to feed back on different aspects of our work using sliding scales between 1- 100, for things like ‘captivation’, ‘relevance’ and ‘distinctiveness’. On average, audiences rated our work 82/100 and peers 78/100.

Financial Review

Income

The statement of Financial Activities for the year ending 31 March 2021 shows total income of £525,717 - down 18% on the previous financial year. Covid has certainly contributed to this not insignificant reduction in income. We were lucky in that we didn’t have any withdrawals of funding for existing/ongoing projects, nevertheless, because of substantial delays to the majority of those ongoing projects, funding has been drawn down more slowly. Furthermore, we proceeded with some substantial spending, such as on our small-scale commissioning strand BEYOND #1, without the usual match-funding in place, because we considered it more important to be able to respond to the changes brought about by the pandemic swiftly, and get opportunities and cash out to struggling artists fast, rather than waiting six months or more, until we had secured external finances. We do not feel this put us into any kind of financial jeopardy in doing so, and strengthened the project itself, as it meant we were able to be much more flexible to the needs of the artists, who were struggling with all kinds of hardships through the year. It also meant we didn’t have to complicate our offer by placing a range of additional demands and caveats on artists and their work, as inevitably happens when there are multiple funding parties involved, with different objectives. Our income from AV equipment hires was also reduced, as Covid meant demand disappeared, with shows unable to open for much of the year.

FVU is proud to be an Arts Council England National Portfolio Organisation, and receive a £386,301 annual grant from them, which included a £6,980 uplift on our previous annual grant.

At the end of the year, we also received an additional £14,000 from Arts Council England, which we had applied for to support our second edition of the commissioning strand BEYOND as well as further online work. A further £14,000 will follow in 2021-22 for these initiatives.

Our other most significant grant funding in the year, of £40,600 came from Jerwood Arts, who have supported us since 2011, and with whom we jointly realise the Jerwood/FVU Awards, delivering two major new commissions by early-career artists per edition. This funding is to support the 2022 edition of the awards, the two projects for which began preproduction in autumn 2020.

£27,800 was received from Art Fund in 2020/21 as part of a substantial four-year grant of £100K to support four major new commissions by more established artists. The 2020/21 funding went to the production of works by Jananne Al-Ani, Sutapa Biswas and Georgina Starr for exhibitions that will now take place in 2021 and 2022.

We received a £1,000 grant, expanding on last year’s funding by the Rothschild Foundation, to support an online presentation of the work ‘The Bird Game’ by Marianna Simnett that we co-commissioned with them back in 2019. In 2020-21 we commissioned a companion piece, that expanded on the themes of the work, to accompany the online presentation of ‘The Bird Game’.

Project contributions from venues with whom we collaborate on developing and presenting commissions remains a strong income stream for FVU at £34,833, despite being half the amount received in the prior year. This dramatic decrease is due to productions and exhibitions being postponed by the pandemic, meaning funds have been drawn down much

more slowly than anticipated. Nevertheless, this year we received contributions from the following, reflecting a small number of the numerous venues our works tour to up and down the country, and internationally, each year:

For the fourth year in a row we received a £500 donation from University of East London to support the Michael O’Pray Prize.

Expenditure

The total expenditure for the year ending 31 March 2020 totals £452,779, 39% down on the previous financial year. Expenditure had been particularly high in 2019-20, owing to an extremely busy year of production, in which we produced seven ambitious works including works by Sophie Cundale, Nadeem Din-Gabisi, Patrick Hough, Guy Oliver, Reman Sadani, Marianna Simnett and Georgina Starr. Therefore the expenditure of 2019-20 stands in particularly stark contrast to the spend of 2020-21, a year in which, due to the pandemic, only two productions of equivalent scale were produced (Sutapa Biswas and Patrick Goddard), although seven small-scale productions for BEYOND #1 were nevertheless keeping us busy. We were also provided with a rent reduction of £4,000 per quarter while we were impacted by the pandemic. This rent-reduction created a substantial saving for us.

Of the £452,779 spent in 2020-21, £196,667 was spent on support costs/overheads, while £256,112 contributed directly to our artistic activities.

Restricted and Designated Funds

At the close of the financial year we have £63,938 of restricted funds remaining as well as £205,776 of funds that are designated to specific activities.

Reserves

Following a review of our reserves, FVU will continue to maintain a reserve of £100,000 representing three months' worth of our staff and operating costs, allowing us time to fulfil contractual obligations, should our core funding from Arts Council England cease, and the trustees then deemed it necessary for us to wind down the charity's operations.

Structure, Governance and Management

Governing document

Film and Video Umbrella is registered with the Charity Commission for England and Wales and is constituted as a Charitable Incorporated Organisation.

FVU was previously a not-for-profit company limited by shares, between 1988 and 2016.

Recruitment and appointment of trustees

In 2020-21 no new appointments have been made to our Board of Trustees.

New trustees are recruited and appointed by the existing trustees. Skills audits are undertaken prior to recruitment in order to ensure a strong range of skills, and that those skills most needed within the organisation are added to the board. Trustees are also recruited mindful of the range of backgrounds of individuals that are contained within the diverse demographic of the UK's population that FVU intends to reach, protect and represent. When appointing new trustees, the existing trustees take into consideration the Equality Act 2010's ten protected characteristics, as well as class/economic disadvantage, social and institutional barriers. As an organisation that works throughout the UK, we also aim to recruit trustees living and /or working in a range of different locations within the UK, and as an organisation that works closely with artists, we always aim that at least one artist is a trustee.

Trustees are appointed for a period of three years, at which point they can be reappointed for a new term should the remaining trustees elect to do so. There is no maximum duration of service. Our constitution allows for a maximum of ten trustees and a minimum of three.

New trustees receive copies of the following documents to induct them to the organisation and to help them to understand their responsibilities as trustees:

The overall responsibility for Film and Video Umbrella belongs to the Board of Trustees which meets quarterly, or more frequently as may be required in order to manage the affairs of the charity. Day-to-day operational responsibility has been delegated to the Director, Steven Bode, who reports directly to the board of trustees, and has dual responsibility as both a trustee and a director.

Reference and Administrative Information

Name of Charity:

Film and Video Umbrella

Charity registration number:

1165046

Principal address: 8 Vine Yard, London SE1 1QL

Trustees

The trustees and officers serving during the year and since the year end were as follows:

Independent Examiner

Andrew M Wells FMAAT Counterculture Partnership LLP 99 Western Road, Lewes, East Sussex BN7 1RS

Approved by the Board of Trustees and signed on its behalf by

-----------------------------------Kate Wilson

6 September 2021

Film and Video Umbrella

Independent Examiners Report to the Trustees For the year ended 31 March 2021

I report to the trustees on my examination of the accounts of the charity for the year ended 31 March 2021.

Responsibilities and basis of report

As the charity trustees, you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ('the 2011 Act').

I report in respect of my examination of the charity’s accounts carried out under section 145 of the 2011 Act and in carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.

Independent examiners statement

Since the Charity’s gross income exceeded £250,000, your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination by virtue of my membership of Association of Accounting Technicians, which is one of the listed bodies.

I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:

  1. accounting records were not kept in respect of the Charity as required by section 130 of the 2011 Act; or

  1. the accounts do not accord with those records; or

  2. the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a 'true and fair view' which is not a matter considered as part of an independent examination.

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

Andrew M Wells FMAAT Counterculture Partnership LLP

99 Western Road Lewes East Sussex BN7 1RS

6 September 2021

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Film and Video Umbrella Statement of Financial Activities

For the year ended 31 March 2021

Notes Unrestricted Restricted 2021 2020
funds funds
£ £ £ £
Income and endowments from:
Donations and legacies 2 386,752 92,415 479,167 539,868
Charitable activities 3 46,335 - 46,335 103,531
Investments 4 215 - 215 878
Total 433,302 92,415 525,717 644,277
Expenditure on:
Charitable activities 5/6 (424,302) (28,477) (452,779) (742,025)
Total (424,302) (28,477) (452,779) (742,025)
Net income/expenditure 9,000 63,938 72,938 (97,748)
Reconciliation of funds
Total funds brought forward 296,776 - 296,776 394,524
Total funds carried forward 305,776 63,938 369,714 296,776

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Film and Video Umbrella Statement of Financial Position

As at 31 March 2021

Fixed assets
Tangible assets
Notes
12
Current assets
Stocks
13
Debtors
14
Cash at bank and in hand
Creditors: amounts falling due within one year
15
Net current assets
Total assets less current liabilities
Net assets
The funds of the charity
Restricted income funds
16
Unrestricted income funds
16
Total funds		 2021
£
4,917		 2020
£
12,895
4,917 12,895
2,942
21,442
355,064		 2,942
31,686
265,618
379,448 300,246
(14,651)
364,797		 (16,365)
283,881
369,714 296,776
369,714 296,776
63,938
305,776		 -
296,776
369,714 296,776

The financial statements were approved and authorised for issue by the Board and signed on its behalf by:

Kate Wilson (co-chair-person) Trustee

6 September 2021

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Film�and�Video�Umbrella

Cashflow�Statement For�the�year�ended�31�March�2021

Cashflowfromoperatingactivities
Cash generated from operations
Dividends, interest and rent from investments
Purchase of tangible assets
Cash and cash equivalents at beginning of year
Cash and cash equivalents at end of year
Cashgeneratedfromoperations
Net movement in funds
Adjustments for:
Depreciation and amortisation of fixed assets
Dividends, interest and rent from investments
Movement in working capital
(Increase)/decrease in stocks
(Increase)/decrease in debtors
Increase/(Decrease) in creditors
Cashgeneratedfromoperations		 91,176
215
(1,945)
(1,730)
89,446
265,618
355,064
72,938
9,924
(215)
-
10,243
(1,714)
91,176
2021		 (78,609)
878
(2,500)
(1,622)
(80,231)
345,849
265,618
(97,748)
10,665
(878)
-
3,616
5,736
(78,609)
2020

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Film and Video Umbrella Notes to the Financial Statements For the year ended 31 March 2021

1. Accounting Policies

Basis of accounting

The financial statements have been prepared under the historical cost convention, except for investments which are included at market value and the revaluation of certain fixed assets and in accordance with the Charities SORP (FRS 102) ‘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 2019)’, Financial Reporting Standard 102 the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102), and the Charities Act 2011.

Film and Video Umbrella meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy note(s).

Going concern

The financial statements are prepared, on a going concern basis, under the historical cost convention.

Funds

The charity maintains a general unrestricted fund which represents funds which are expendable at the discretion of the trustees in furtherance of the objects of the charity. Such funds may be held in order to finance both working capital and capital investment.

Designated funds comprise of unrestricted funds that have been set aside by the Trustees for particular purposes.

Restricted funds have been provided to the charity for particular purposes, and it is the policy of the board of trustees to carefully monitor the application of those funds in accordance with the restrictions placed upon them.

There is no formal policy of transfer between funds or on the allocation of funds to designated funds, other than that described above

Incoming resources

All incoming resources are included in the statement of financial activities when the Charity is entitled to the income and the amount can be quantified with reasonable accuracy. The following specific policies are applied to particular categories of income:

Resources expended

Liabilities are recognised as resources expended when there is a legal or constructive obligation committing the Charity to the expenditure:

Taxation

As a registered charity, the company is exempt from income and corporation tax to the extent that its income and gains are applicable to charitable purposes only. Irrecoverable Value Added Tax is included in the relevant costs in the Statement of Financial Activities.

Tangible fixed assets

Tangible fixed assets, other than freehold land, are stated at cost or valuation less depreciation and any provision for impairment. Depreciation is provided at rates calculated to write off the cost or valuation of fixed assets, less their estimated residual value, over their expected useful lives on the following basis: Exhibition Equipment 20% Straight line Computer Equipment 33% Straight line

Stocks and work in progress

Stocks are valued at the lower of cost and net realisable value after making due allowance for obsolete and slow moving items. Cost includes all direct costs and an appropriate proportion of fixed and variable overheads.

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Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

2. Income from donations and legacies

ncome from donations and legacies
Unrestricted Restricted 2021 2020
funds funds
£ £ £ £
Donations received 451 500 951 5,534
Grants received 386,301 91,915 478,216 534,334
386,752 92,415 479,167 539,868

Analysis of grants received

Art Fund
Arts Council England National Lottery Project Grants
Arts Council England NPO
Arts Council England Strategic Touring
Chapman Charitable Trust
Jerwood Arts
Rothschild Foundation
Transfer of grant		 2021
£
27,800
14,000
386,301
-
-
40,600
1,000
8,515
478,216		 2020
£
42,000
-
379,321
9,313
2,000
56,500
20,000
25,200
534,334

3. Income from charitable activities

Unrestricted funds
Advancement of the visual Arts
Project contribution
Sales of Works
Sales of Books
AV Equipment Hires
Other income		 2021
£
34,833
7,207
396
1,218
2,681
46,335
46,335		 2020
£
72,286
1,080
672
5,661
23,832
103,531
103,531

20 of 28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

4. Investment income

Unrestricted funds
Bank interest receivable		 2021
£
215
215		 2020
£
878
878

5. Costs of charitable activities by fund type

Advancement of the visual Arts
Support costs
osts of charitable activities by activity type
Support costs
Advancement of the visual Arts
nalysis of support costs
Advancement of the visual Arts
Management and staff
costs
Office running costs
Premises costs
Governance costs		 Unrestricted
funds
£
227,635
196,667
424,302
Activities
undertaken
directly
£
256,112		 Restricted
funds
£
28,477
-
28,477
Support
costs
£
196,667		 2021
£
256,112
196,667
452,779
2021
£
452,779
2021
£
108,591
23,153
60,163
4,760
196,667		 2020
£
541,727
200,298
742,025
2020
£
742,025
2020
£
108,603
17,024
71,426
3,245
200,298

6. Costs of charitable activities by activity type

7. Analysis of support costs

21 of 28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

8. Net income/(expenditure) for the year

This is stated after charging/(crediting):

et income/(expenditure) for the year
This is stated after charging/(crediting):
2021 2020
£ £
Depreciation of owned fixed assets 9,924 10,665
Accountancy fees 2,750 2,750
Staff pension contributions 5,040 5,301

9. Staff costs and emoluments

Total staff costs for the year ended 31 March 2021 were:

Salaries and wages
Social security costs
Pension costs
Administration
Technical		 2021
£
191,435
13,660
5,040
210,135
2021
1
4		 2020
£
185,537
14,188
5,301
205,026
2020
1
4
5 5

10. Trustee remuneration and related party transactions

One employee, Steven Bode, is also a trustee. His remuneration as an employee for the year was £55,000 (2020 £56,650) none of which was for services as a trustee.

22 of 28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

11. Comparative for the Statement of Financial Activities

Income and endowments from:
Donations and legacies
Charitable activities
Investments
Total
Expenditure on:
Charitable activities
Total
Net expenditure
Reconciliation of funds
Total funds brought forward
Total funds carried forward		 Unrestricted
funds
£
386,855
103,531
878
491,264
(525,156)
(525,156)
(33,892)
330,668
296,776		 Restricted
funds
£
153,013
-
-
153,013
(216,869)
(216,869)
(63,856)
63,856
-		 2020
£
539,868
103,531
878
644,277
(742,025)
(742,025)
(97,748)
394,524
296,776

12. Tangible fixed assets

Cost or valuation
At 01 April 2020
Additions
At 31 March 2021
Depreciation
At 01 April 2020
Charge for year
At 31 March 2021
Net book values
At 31 March 2021
At 31 March 2020		 Exhibition
Equipment
£
42,142
-
42,142
30,462
8,428
38,890
3,252
11,681		 Computer
Equipment
£
6,778
1,945
8,723
5,563
1,495
7,058
1,665
1,215		 Total
£
48,921
1,945
50,866
36,025
9,924
45,949
4,917
12,896

13. Stocks and work in progress

Stocks of raw materials 2021
£
2,942
2,942		 2020
£
2,942
2,942

23 of 28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

14. Debtors

Amounts due within one year:
Trade debtors
Prepayments and accrued income
Other debtors		 2021
2020
£
£
177
4,707
18,472
18,406
2,793
8,573
21,442
31,686

15. Creditors: amounts falling due within one year

Creditors: amounts falling due within one year
Trade creditors
Other creditors
Accruals and deferred income		 2021
£
7,285
4,616
2,750		 2020
£
7,670
5,945
2,750
14,651 16,365

16. Movement in funds

Unrestricted Funds

Unrestricted Funds
Balance at Incoming Outgoing Transfers Balance at
01/04/2020 resources resources 31/03/2021
£ £ £ £ £
Designated
Projects designated 196,776 - - 9,000 205,776
fund
General
General 100,000 433,302 (424,302) (9,000) 100,000
296,776 433,302 (424,302) - 305,776

24 of 28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

Unrestricted Funds - Previous year

Designated
Projects designated
fund
General
General		 Balance at
01/04/2019
£
230,668
100,000		 Incoming
resources
£
-
491,264
491,264		 Outgoing
resources
£
-
(525,156)		 Transfers
£
(33,892)
33,892		 Balance at
31/03/2020
£
196,776
100,000
330,668 (525,156) - 296,776

Purpose of unrestricted Funds

Projects designated fund

Amounts received that are designated for specific costs to which the charity is committed within the coming months.

General

To promote and advance the visual arts in particular film, video and the moving image.

Restricted Funds

Balance at Incoming Outgoing Balance at
01/04/2020 resources resources 31/03/2021
£ £ £ £
Restricted funds - 92,415 (28,477) 63,938
- 92,415 (28,477) 63,938
**Restricted ** Funds - Previous year
Balance at Incoming Outgoing Balance at
01/04/2019 resources resources 31/03/2020
£ £ £ £
Restricted funds 63,856 153,013 (216,869) -
63,856 153,013 (216,869) -

Purpose of restricted funds

Restricted funds

Restricted funds represent grants and donations made to fund specific projects

25 of 28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2021

17. Analysis of net assets between funds

Unrestricted funds
General
General
Designated
Projects designated fund
Restricted funds
Restricted funds
Previous year
Unrestricted funds
General
General
Designated
Projects designated fund
Restricted funds		 Tangible
fixed assets
Net current
assets /
(liabilities)
Net Assets
£
£
£
4,917
95,083
100,000
-
205,776
205,776
-
63,938
63,938
4,917
364,797
369,714
Tangible
fixed assets
Net current
assets /
(liabilities)
Net Assets
£
£
£
12,895
87,105
100,000
-
196,776
196,776
12,895
283,881
296,776

26 of 28

Film and Video Umbrella Detailed Statement of Financial Activities For the year ended 31 March 2021

INCOME AND ENDOWMENT
Donations and legacies
Donations
Grants receivable
Project contribution
Sales of Works
Sales of Books
AV Equipment Hires
Sundry
Artwork Hire Fees
Total incoming resources
EXPENDITURE
Cost of sales - direct charitable activity
Staff costs - wages & salaries
Depreciation - owned assets
Freelancers
Travel, Subsistence, Accommodation
Marketing (Projects General)
Website Hosting and Build
Equipment
Equipment Maintenance / Consumables
Archive / Archive Maintenance
Project Admin / Set-Up / Fees
Pre-Production
Production
Post-Production
Presentation
Outreach / Events
Touring
Marketing (Specific Projects)
Publishing
Artists' fees
Project access
SUPPORT COSTS
Management and staff costs
Staff costs
Staff costs - social security costs
Charitable activities
Investments
Bank interest receivable
Charitable activities		 2021
£
951
478,216		 2020
£
5,534
534,334
479,167
34,833
7,207
396
1,218
181
2,500		 539,868
72,286
1,080
672
5,661
23,832
-
46,335
215		 103,531
878
215 878
525,717
(1,804)
(107,895)
(8,428)
(4,681)
(74)
(1,590)
(6,178)
(199)
(535)
(1,780)
(8,372)
(3,936)
(29,531)
(22,038)
(5,129)
(129)
(247)
(8,993)
(1,500)
(39,152)
(3,921)		 644,277
(632)
(104,014)
(8,428)
(4,288)
(2,110)
(1,150)
(2,605)
(766)
(72)
-
(40,560)
(13,975)
(221,199)
(40,859)
(5,478)
(3,354)
(1,710)
(13,658)
(10,057)
(66,812)
-
(256,112)
(83,541)
(13,660)		 (541,727)
(81,524)
(14,188)

27 of 28

This page does not form part of the statutory financial statements

Film and Video Umbrella Detailed Statement of Financial Activities Continued For the year ended 31 March 2021

Staff costs - pension contributions
Trustee - expenses
Freelancers
Recruitment and HR
Office running costs
Depreciation - owned assets
Seminars, Tickets, Books, Memberships,
Subscriptions
Telephone, Internet
Office Equipment
Office Software
Office Stationery / Printing
Postage / Couriers
Entertainment
Sundry Costs
Unreclaimable VAT
Office Supplies and Maintenance
Premises costs
Rent
Business Rates
Insurance, Security, Alarms, Keys
Utilities (Electricity / Service Charge)
Cleaning
Governance costs
Accountancy fees
Legal fees
Total resources expended
Net Income		 (5,040)
-
(4,641)
(1,709)
(108,591)
(1,495)
-
(2,985)
(583)
(3,447)
(435)
(437)
(721)
(6,213)
(2,185)
(4,652)
(23,153)
(44,233)
(5,335)
(4,427)
(4,668)
(1,500)
(60,163)
(2,750)
(2,010)
(4,760)
(452,779)
72,938		 (5,301)
(387)
(6,838)
(365)
(108,603)
(2,237)
(62)
(3,990)
(199)
(2,894)
(451)
(194)
(1,372)
(3,928)
(571)
(1,126)
(17,024)
(56,808)
(4,914)
(4,501)
(3,523)
(1,680)
(71,426)
(2,750)
(495)
(3,245)
(742,025)
(97,748)

28 of 28

This page does not form part of the statutory financial statements