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2023-03-31-accounts

Charity number: 1165046

Film and Video Umbrella

Report of the Trustees and Unaudited Financial Statements

For the year ended 31 March 2023

Film and Video Umbrella Contents Page For the year ended 31 March 2023

Report of the Trustees 1 to17
Independent Examiner's Report to the Trustees 18
Statement of Financial Activities 19
Statement of Financial Position 20
Cashflow statement 21
Notes to the Financial Statements 22to30
Detailed Statement of Financial Activities 30to31

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Film and Video Umbrella Report of the Trustees For the year ended 31 March 2023

The Trustees have pleasure in presenting their report and the financial statements for the charity for the year ended 31 March 2023. The Trustees have adopted the provisions of 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 the Republic of Ireland (FRS 102) (effective 1 January 2019).

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Report of the Trustees 2022-23

BANI ABIDI, The Song , 2022, installation at John Hansard Gallery, 2023

Objectives and Activities

FVU Charitable Objects

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

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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 also internationally. We commission between five and ten works per 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 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 and Mark Leckey. 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.

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JOANNA CALLAGHAN, My Fantastic Voyage , 2022

FVU Aims

FVU will deliver its artistic programme according to the following aims:

  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, and to 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 advocate in the interests of the sector amongst stakeholders, from audiences, to Arts Council England, to government.

  8. To be a sustainable organisation, creatively, environmentally and financially.

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FVU Principles and Values

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.

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, for the medium and on behalf of the sector, but also a duty of candour to the artists and organisations. We are committed to providing constructive responses, and to challenging poor practices within the organisation and without.

Prioritising 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.

Environmentally Sustainable: we are committed to reducing our environmental impact to become carbon neutral by 2030

SOOJIN CHANG, BXBY , 2022

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Achievements and Performance

Significant Activities between April 2022 - March 2023

2022-23 was another productive year for FVU, which saw us produce ten new commissions at a range of scales, from low-budget works for online exhibition, to highly ambitious pieces for presentation on the international stage. These projects are summarised below:

BANI ABIDI, The Song

BANI ABIDI, The Song , 2022

The Song is the third and final commission in our partnership with Contemporary Art Society, the aim of which was to develop work for the collections of regional galleries in the north-west of England. It was commissioned for the collection of Gallery Oldham, in partnership with Salzburger Kunstverein and John Hansard Gallery (Southampton), where it received its initial exhibitions. It has also exhibited at Experimenter (India) and 22nd River to River Florence Indian Film Festival (Italy). It will exhibit at Gallery Oldham in Spring 2024.

The Song follows the fictional story of an elderly man, recently arrived in a new and unfamiliar European city as a refugee or migrant. He confronts the isolation of his new environment, creating kinetic sculptures out of everyday objects or waste material to recreate the sounds of his former home. The film poignantly highlights the realities of homesickness, yearning and loss. In so doing, Abidi enables a complex spell of identity to emerge, where we glimpse an intimate portrait that moves between sanity and madness, tragedy and comedy, rootedness and rootlessness.

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LARISSA SANSOUR AND SØREN LIND, Familiar Phantoms

LARISSA SANSOUR & SØREN LIND, Familiar Phantoms , 2023, production still

The fourth project in an ongoing partnership with the Art Fund - to work with regional museums and galleries to expand their collections of moving image art while simultaneously expanding their experience of co-commissioning such works – was commissioned for the collection of Whitworth Art Gallery, Manchester, in partnership with the Irish Museum of Modern Art where it will show later in 2023. Audiences for the Whitworth staging alone were 21,065.

Internationally acclaimed artists Larissa Sansour and Søren Lind (stars of the 2019 Venice Biennale) made Familiar Phantoms , a deep and atmospheric dive into Larissa Sansour’s family history. A dreamy, nostalgic recollection of everyday scenes from the artist’s Palestinian childhood, this panoramic video projection widens its lens to reflect both the vibrant identity and the enduring trauma of the Palestinian people.

RAVI DEEPRES, Origin

RAVI DEEPRES, Origin , 2022

For artist Ravi Deepres, FVU produced three short films for the 2022 Commonwealth Games, to be exhibited in stadiums and fan-zones across Birmingham where the games were hosted, as well as online on FVU Watch. Featuring track and field stars from the English national team (such as Morgan Lake, Abigail Irozuru and Thomas Young) alongside a number of young people from different parts of the city, the films, through their pairings of professional athletes with young aspiring amateurs, reveal the root of the journeys that athletes must take to reach athletic greatness.

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Jerwood/FVU Awards 2022 | Michael.: cleave to the BLACK and Soojin Chang: BXBY

MICHAEL., cleave to the BLACK , 2022, Leeds Art Gallery

SOOJIN CHANG, BXBY , 2022, Jerwood Arts

After a decade of the Jerwood/FVU Awards, the eighth and final edition of the awards was presented at Jerwood Arts, followed by Leeds Art Gallery and CAVE: Centre for Audio Visual Experimentation, garnering 36,800 audiences. Three commissions, a performance and an artist curated collections exhibition (of the Leeds Art Gallery collection) were produced, as well as a series of events, education workshops, screenings and texts.

Michael.’s video triptych cleave to the BLACK , was exhibited in Jerwood Arts and Leeds Art Gallery, where it was accompanied by resonant works from the Leeds collection that the artist had selected. A meditative exploration of the lingering imprint of past events on contemporary Black male experience, it celebrates slowness as a precondition of recovery and care. Alluding to episodes from the Bible and stories from African folklore and cosmology, the piece brings a subtle overtone of parable and myth to its carefully composed and quietly haunting scenes. Looping sequences of a procession of figures slowly climbing an outdoor staircase in a regulation council block are contrasted with a tableau of those figures sleeping (at nightly peace or at final rest). In between is a third screen depicting an arcadian landscape – a memory of a time long gone or a glimmer of better things to come? Made in close dialogue with a group of Black men from different London communities, cleave to the BLACK is a work of authentic, personal expression and evocative, atmospheric poetry.

Soojin Chang’s BXBY was a year-long performance project that merged forms of semifictional documentary and ritual practice, following Chang as a hybrid, shape-shifting being trying to learn to reproduce. Drawing from chimeric figures within creation stories of the British Isles and the diasporic cultures of Chang and her collaborators (Choulay Mech, Jade O'belle, Anika Ahuja, and Aditya Surya Taruna a.k.a Kasimyn), Chang positioned her own hybrid body – part animal, part woman, part alien – as a site of technological interaction and as a locus of ongoing experiment. Sampling diverse scientific methods such as IVF, biohacking, and voluntary self-touch, BXBY addresses the legacy of colonial science to open out into wider affirmation of queer, interspecies kinship and reliance. In the iteration of the exhibition in Leeds (where BXBY was shown at CAVE), it was supplemented by a new video installation, Sacrifice to the Seaworm , with an equal focus on ritual, resistance and recovery.

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BEYOND #2

CRAIG DAVID PARR, Wings of Love , 2022

RENE MATIĆ, Many Rivers , 2022

MICHAEL HO, Echoes from the Void , 2022 JOANNA CALLAGHAN, My Fantastic Voyage , 2023

The remaining four commissions were part of the second edition of our online commissioning strand BEYOND, a scheme launched to help artists through the pandemic, which has also enabled us to diversify the types of artists’ work that we commission, by designing a scheme suitable for artists whose practices are more self-sufficient and do not require the hands-on production assistance that is our forte, but who nevertheless require curatorial, institutional and production support. Works are presented on the FVU website, alongside a newly commissioned text.

Craig David Parr’s Wings of Love references the popular Seventies cult/kitsch painting ‘The Wings of Love’ by the artist Stephen Pearson and the personal/cultural memories it continues to evoke as a jumping-off point for a surreal and slightly sinister flight of fancy.

Rene Matić’s Many Rivers is an intimate, moving portrait of the artist’s father, Paul, and the struggles he has faced, that opens out into a stark and sobering exposure of the divisive, destructive strictures of race and class in post-war Britain. In an exception to the intention of the scheme, Matić’s work was premiered in a solo exhibition at South London Gallery, before touring to Kunstverein Gartenhaus, Vienna. It will receive its online premiere later in 2023.

Michael Ho’s Echoes from the Void is a haunting, elliptical video that considers the echo chambers of contemporary conspiracy theories (in the wake of the coronavirus pandemic) alongside the mythic, subterranean topography of the cave. Ho’s work was exhibited in parallel both online on FVU Watch and at Nottingham Contemporary as part of a touring exhibition, ‘Hollow Earth’, about caves and the subterranean imaginary. It has gone on to be exhibited in New York and Shanghai, with three editions acquired by various collections.

Joanna Callaghan’s My Fantastic Voyage pays homage to the 1966 feature film, while exploring her own personal journey to better understand and visualise her condition after a

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diagnosis with breast cancer. Grim, grey MRI scans on grim, grey hospital wards morph into a technicolour dreamscape through which Callaghan swims and glides, as if momentarily freed from the gravity of her situation, and the worries and anxieties that accompany it. My Fantastic Voyage is a bite-sized odyssey that treats the facts of illness with joyful insouciance and a poignant, compelling humanity.

Online Programme

In months where we did not have a BEYOND commission to release, FVU continued to showcase works from our extensive back catalogue, often generating a new text to help situate that work in the present. This provided a way of renewing the featured work on FVU Watch on a monthly basis for FVU’s audiences.

Access

We have been continuing to caption 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.

Michael O’Pray Prize 2022

2022 also saw the sixth edition of the Michael O'Pray Prize for emerging creative and critical writers on the moving image, in partnership with Art Monthly . The 2022 Michael O’Pray Prize winners were Laura Bivolaru, Evelyn Wh-ell and the runners up were Dan Guthrie and Sivash Minoukadeh.

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International Touring

Meanwhile, past commissions continued national and international touring. Works included Patrick Goddard’s Animal Antics and Hetain Patel’s Don’t Look at The Finger as part of the British Art Show, touring to Wolverhampton, Manchester and Plymouth; Hetain Patel’s film also had its inaugural staging as part of the Tate’s collection at Tate St Ives. Sutapa Biswas’ Lumen continued its tour to Autograph, London, New Art Gallery Walsall and Newlyn Art Gallery and there was a staging of earlier FVU Sutapa Biswas commission Birdsong at The Exchange (Penzance). Elizabeth Price’s FELT TIP exhibited at GOMA (Glasgow) where it has been accessioned into the GOMA collection and at Schirn Kunsthalle (Frankfurt). Patrick Hough’s The Black River of Herself has undertaken a particularly extensive tour with stagings at The Model (Ireland), VISUAL (Ireland), WORM (Rotterdam), Filmhuis Cavia (Amsterdam), Pálás Cinema (Galway), Garter Lane Arts Centre (Ireland), Gallery Format (Malmö) and Irish Film Festival (London).

Works commissioned via our online programmes between 2020 and 2022 were invited into numerous real-world exhibitions: for example Ruth Maclennan’s Treeline exhibited at Whitechapel Gallery (London), John Hansard Gallery (Southampton) and Crawford Art Gallery (Ireland); Kyla Harris and Lou Macnamara’s It’s Personal was shown at Somerset House (London), Aesthetica Short Film Festival (York), National Science and Media Museum (Bradford), The New Bridge Project (Newcastle) and Rumpus Room (Glasgow); Kondo Heller’s MU/T/T/ER was shown at Third Horizon Film Festival (USA), Millennium Docs (Poland), Cubitt (London), Alchemy Film and Moving Image Festival (Hawick) and Birmingham Critical Film Forum; Cal Mac’s Agony to Ecstasy was shown at Aye Festival (Glasgow); Toby Parker Rees’ the great dog, Pan was shown at Alchemy Film and Moving Image Festival (Hawick), The Nunnery Gallery (London) and Cornwall Film Festival; Chris Zhongtian Yuan’s Wuhan Punk was shown at Blindspot Gallery (China).

As well as winning a Tiger Award at the prestigious Rotterdam International Film Festival, Maryam Tafakory’s Nazarbazi has received multiple screenings, such as at ICA (London), Glasgow Short Film Festival, Open City Documentary Festival (London), e-flux (USA), Documenta Madrid International Film Festival, Kurz Film Festival (Hamburg), Spectacle Theatre (USA), EXiS Experimental Film and Video Festival (Seoul), Curtas Vila do Conde (Portugal), DokuFest (Kosovo), Museum of the Moving Image (NYC), La Inesperada Festival de Cine (Spain) and Courtisane Film Festival (Ghent), with touring continuing into 2023-24, including an extended gallery exhibition at LUX in London.

Other works on tour in 2022-23 include Jananne Al Ani’s Timelines ; Maeve Brennan’s Listening in the Dark ; Susan Collins’ Seascape ; Ruth Maclennan’s A Forest Tale ; Reman Sadani’s Walkout 1 ; Marianna Simnett’s The Udder , Blood and The Bird Game ; Georgina Starr’s Quarantaine ; and Gillian Wearing’s Family History .

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Achievements Against Objectives

Of the eleven artists commissioned to make moving image commissions that were released in 2022/23:

In the year FVU's work featured in 42 real-world exhibitions and 41 real-world screenings, both across the UK and internationally, as well as in 16 events or education sessions and 42 online presentations. Across the year there were 10,914 exhibition days, reaching audiences of 707,478. Our work toured to 18 different UK towns, cities or regions. Only 14% of our exhibitions, screenings and events took place in London, with 18% of our audiences experiencing work in the capital.

51% of surveyed audiences had not encountered an FVU event or piece of our work before. 91% of surveyed audiences rated FVU’s work either ‘good’ or ‘very good’.

We also 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 79/100 and peers 89/100.

Financial Review

Income

The statement of Financial Activities for the year ending 31 March 2023 shows total income of £545,237 – up more than 7% on the previous financial year.

FVU is proud to be an Arts Council England National Portfolio Organisation, and receives a £386,301 annual grant from them. We also received the £2,800 balance of an Arts Council England National Lottery Project grant to support our online activities.

Our other most significant grant funding in the year, of £21,000, came from Art Fund as part of a substantial four-year grant of £100K to support four major new commissions by more established artists. The 2022/23 funding went to the production of a work by Larissa Sansour & Søren Lind who were also supported via grants from the Danish Arts Foundation and the Knud Hojgaards Fond.

Similarly, we received £10,000 from Contemporary Art Society for our Bani Abidi commission as part of a substantial three-project collaboration to support three public collections in the north-west of England to commission and collect new moving image work.

Project contributions from venues with whom we collaborate on developing and presenting commissions remains a strong income stream for FVU at £41,163. We received contributions

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from the following exhibition venues, reflecting a small number of the numerous institutions that our works tour to up and down the country, and internationally, each year:

We also received £25,579 from the Birmingham Organising Committee for the 2022 Commonwealth Games to deliver our Ravi Deepres commission.

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

Other income comes from audio-visual equipment hires, sales of work and publications.

Expenditure

The total expenditure for the year ending 31 March 2023 totals £574,977, up by over 9% on the previous financial year.

Of the £574,977 spent in 2022-23, £200,794 was spent on support costs/overheads, while £374,183 contributed directly to our artistic activities.

The apparent overspend of £29,740 is predominantly due to the completion of projects taking place where funds were received in a prior financial year.

Restricted and Designated Funds

At the close of the financial year we have £0 restricted funds remaining with £163,616 of funds that are designated to specific activities, including £20k for necessary website development, £20k for recruitment as we transition to a new Director, and £50k to support our commitment to Arts Council England that the organisation move our headquarters out of London. The remainder of 73,616 is designated to programme activities.

Reserves

Following a review of our reserves, FVU has increased its reserve to £160,000 representing close to six 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.

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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

New appointees to our board in 2022-23 were as follows:

Susan Collins: is an artist who works across gallery, public and online locations often employing transmission, networking and time as primary materials. Works include the BAFTA nominated Tate in Space, commissioned for Tate Online (2002); Underglow (2005-6), a network of illuminated drains for the Corporation of London; Seascape (2009), a solo show for the De La Warr Pavilion, Bexhill-on-Sea, and Brighter Later (2013), a light installation for the Radcliffe Observatory, Oxford driven by live weather data. Since 2002 she has investigated the relationship of time to place and landscape through a series of lens-based year-long live internet transmissions from remote locations, the latest of which is Dell Quay (2022-23) commissioned by Pallant House Gallery, Chichester for Sussex Landscape: Chalk, Wood and Water. Collins is currently Head of Research and Professor of Fine Art at the Slade School of Fine Art, UCL.

Myvanwy Evans: has led cultural strategy and communications consultancy at Tate, Global, Viacom and Red Bull to diversify audiences and widen participation. Founding a non-profit cultural communications agency, Louder Than Words Ltd in the aftermath of 2011 UK riots. Myvanwy has worked with many leading arts and culture organisations to help diversify programmes as well as amplify the voices of young people and marginalised communities. Trained in Fine Art and a passionate educator she has designed Apprenticeship programmes for BPI The BRITs Trust, coordinated the design of national creative and media Diplomas at ScreenSkills (formally Skillset) and developed mentoring and education at leading independent training providers. A member of The Brit Awards Voting Academy and all female Board of Directors at bSupreme charity who support women in the arts. She has been selected for a full bursary by BAPAM, PPL and Help Musicians to study an MA in Psychotherapy at Goldsmiths, specifically to support ethnically diverse artists and to widen representation across the Counselling and Psychotherapy sector.

Gilly Fox: is a curator based in London, UK. Trained in Fine Art and History of Film and Visual Media, she has been Assistant Curator at Hayward Gallery Touring since 2013 where she has co-curated and organised exhibitions in 40 galleries and museums across the UK and at Southbank Centre in London. Outside her institutional role, she curated the Pavilion of Humanity, a collateral event of the Venice Biennale in 2017, co-curated the first UK solo show of leading Norwegian artist Vanessa Baird at the Drawing Room in 2020; and again at Glasgow Women’s Library in 2022. In 2023 she will work with a neurodiverse collective to curate Stim Cinema at Derby QUAD, which challenges neurotypical assumptions around film and gallery presentation. She has been a lecturer at Norwich University of the Arts since 2020 and guest lectures at other HE institutions across the UK.

Janette James: is the Learning and Development Manager at Islington Council, responsible for the development of almost one thousand employees. She is a mentor and a coach,

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creating the organisation’s first mentoring programme for underrepresented individuals in leadership. Janette chairs the Equalities and Fairness board and leads the programme of Fairness Champion volunteers. Janette is a member of organisation’s Race Equality Network and the Time to Change working group supporting mental health and ensuring a safe and inclusive working environment. Janette’s previous role was Marketing and Public Relations Manager, at Sureway Parking, UK partner of Vivendi. Janette was responsible for updating the company UK image and was hailed for her unique methodology to promote and strengthening staff engagement and improving employee relations.

Kajal Kothari Patel: is an HR Consultant with over 15 years' Human Resource management experience, with a demonstrated history of achieving success on a variety of projects within a breadth of different sectors including Not For Profit, Housing, Retail, Transportation, Energy, Information and Communications. She is a subject matter expert in talent management, consultation, employee engagement, policy and process compliance. She is also experienced in strategic and operational leadership, with specific experience in the social housing sector working with stakeholders to deliver successful programmes resulting with placing people into work, training, scrutiny panels, improved employee relations and inclusion programmes.

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,

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Steven Bode, who reports directly to the board of trustees, and has dual responsibility as both a trustee and a director.

FVU would like to thank Eddie Berg, Lawrence Lek and Lucinda Lovell for their service to FVU, each of whom stood down as trustees of the organisation in 2022-23.

Reference and Administrative Information

Name of Charity: Charity Registration Number: Principal Address:

Film and Video Umbrella 1165046 8 Vine Yard, London SE1 1QL

Trustees

The trustees 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

-----------------------------------1st December 2023 Gillian Fox (Chairperson)

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Film and Video Umbrella Independent Examiners Report to the Trustees For the year ended 31 March 2023

I report to the trustees on my examination of the accounts of the charity for the year ended 31 March 2023.

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 2. 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.

8th December 2023

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

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Film and Video Umbrella

Statement of Financial Activities For the year ended 31 March 2023

Notes Unrestricted Restricted 2023 2022
funds funds
£ £ £ £
Income and endowments from:
Donations and legacies 2 387,023 37,666 424,689 446,159
Charitable activities 3 119,902 - 119,902 62,690
Investments 4 646 - 646 35
Total 507,571 37,666 545,237 508,884
Expenditure on:
Charitable activities 5/6 (518,351) (56,626) (574,977) (525,242)
Total (518,351) (56,626) (574,977) (525,242)
Net expenditure (10,780) (18,960) (29,740) (16,358)
Reconciliation of funds
Total funds brought forward 334,396 18,960 353,356 369,714
Total funds carried forward 323,616 - 323,616 353,356

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Film and Video Umbrella Statement of Financial Position As at 31 March 2023

Notes
Fixed assets
Tangible assets
12
Current assets
Stocks
13
14
Debtors
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		 £
2023
5,386
5,386
2,942
22,029
306,496
331,467
(13,237)
318,230
323,616
323,616
-
323,616
323,616		 £
2022
8,696
8,696
2,942
39,690
322,420
365,052
(20,392)
344,660
353,356
353,356
18,960
334,396
353,356

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

1st December 2023

Gillian Fox (Chair Person) Trustee

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Film and Video Umbrella

Cashflow Statement For the year ended 31 March 2023

Cash flow from operating activities
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
Cash generated from operations
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
Cash generated from operations		 (16,570)
646
-
646
(15,924)
322,420
306,496
(29,740)
3,310
(646)
-
17,661
(7,155)
(16,570)
2023		 (23,796)
35
(8,883)
(8,848)
(32,644)
355,064
322,420
(16,358)
5,104
(35)
-
(18,248)
5,741
(23,796)
2022

21

Film and Video Umbrella Notes to the Financial Statements For the year ended 31 March 2023

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:

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.

22

Film and Video Umbrella

Notes to the Financial Statements Continued For the year ended 31 March 2023

2. Income from donations and legacies

Donations received
Grants received		 2022
2023
Restricted
funds
Unrestricted
funds
£
£
£
£
602
722
-
722
445,557
423,967
37,666
386,301
446,159
424,689
37,666
387,023

Analysis of grants received

2023 2022
£ £
Art Fund 21,000 6,000
Arts Council England National Lottery Project Grant 2,800 11,200
Arts Council England National Portfolio Organisation Grant 386,301 386,301
British Council - 30,031
Jerwood Arts - 10,525
Transfer of grant 13,866 1,500
423,967 445,557
ncome from charitable activities
2023 2022
£ £
Unrestricted funds
Advancement of the visual Arts
Project contributions 76,742 51,527
Sales of Works 20,000 -
Sales of Books 315 936
AV Equipment Hires 9,313 7,353
Sundry and Film Tax Credit 13,532 2,874
119,902 62,690
119,902 62,690

3. Income from charitable activities

4. Investment income

Unrestricted funds
Bank interest receivable		 2023
£
646
646		 2022
£
35
35

23

Film and Video Umbrella

Notes to the Financial Statements Continued For the year ended 31 March 2023

5. Costs of charitable activities by fund type

osts 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
£
317,557
200,794
518,351
Activities
undertaken
directly
£
374,183		 Restricted
funds
£
56,626
-
56,626
Support
costs
£
200,794		 2023
£
374,183
200,794
574,977
2023
£
574,977
2023
£
116,812
19,036
61,519
3,427
200,794		 2022
£
337,208
188,034
525,242
2022
£
525,242
2022
£
112,559
14,544
57,241
3,690
188,034

6. Costs of charitable activities by activity type

7. Analysis of support costs

8. Net income/(expenditure) for the year

This is stated after charging/(crediting):

This is stated after charging/(crediting):
2023 2022
£ £
Depreciation of owned fixed assets 3,309 5,103
Accountancy fees 2,750 2,750
Staff pension contributions 12,426 6,133

24

Film and Video Umbrella

Notes to the Financial Statements Continued For the year ended 31 March 2023

9. Staff costs and emoluments

Total staff costs for the year ended 31 March 2023 were:

Total staff costs for the year ended 31 March 2023 were:
2023 2022
£ £
Salaries and wages 201,991 204,440
Social security costs 15,060 14,964
Pension costs 6,213 6,133
223,264 225,537

The total employee benefits including pension contributions of the key management personnel were £85,314. No employees received remuneration in excess of £60,000 in the year (2022: £nil).

Communications / Marketing
Exhibition Presentation / Technical
Production / Admin
Senior Management		 2023
1
1
1
2
5		 2022
1
1
1
2
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 £60,000 (2022 £55,000) none of which was for services as a trustee.

There were no other payments to trustees to disclose.

25

Film and Video Umbrella

Notes to the Financial Statements Continued For the year ended 31 March 2023

11. Comparative for the Statement of Financial Activities

Unrestricted Restricted 2022
funds funds
£ £ £
Income and endowments from:
Donations and legacies 386,903 59,256 446,159
Charitable activities 62,690 - 62,690
Investments 35 - 35
Total 449,628 59,256 508,884
Expenditure on:
Charitable activities (421,008) (104,234) (525,242)
Total (421,008) (104,234) (525,242)
Net income/expenditure 28,620 (44,978) (16,358)
Reconciliation of funds
Total funds brought forward 305,776 63,938 369,714
Total funds carried forward 334,396 18,960 353,356

12. Tangible fixed assets

Plant and Computer
Cost or valuation machinery equipment Total
£ £ £
At 01 April 2022 50,192 9,556 59,748
At 31 March 2023 50,192 9,556 59,748
Depreciation
At 01 April 2022 42,700 8,352 51,052
Charge for year 2,384 926 3,310
At 31 March 2023 45,084 9,278 54,362
Net book values
At 31 March 2023 5,108 278 5,386
At 31 March 2022 7,492 1,204 8,696

13. Stocks and work in progress

Stocks of raw materials

2023
£
2,942
2,942		 2022
£
2,942
2,942

26

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2023

14. Debtors

Amounts due within one year:
Trade debtors
Prepayments and accrued income
Other debtors		 2023
2022
£
£
4,367
13,423
13,757
14,672
3,905
11,595
22,029
39,690

15. Creditors: amounts falling due within one year

Creditors: amounts falling due within one year
2023 2022
£ £
Trade creditors 3,641 11,828
Other creditors 6,846 5,814
Accruals and deferred income 2,750 2,750
13,237 20,392

16. Movement in funds

Unrestricted Funds

Designated
HR designated fund
Projects designated
fund
Relocation designated
fund
Reserves designated
fund
Website CMS upgrade
designated
General
General		 Balance at
01/04/2022
£
20,000
135,770
50,000
100,000
-
28,626
334,396		 Incoming
resources
£
-
-
-
-
-
507,571
507,571		 Outgoing
resources
£
-
-
-
-
-
(518,351)
(518,351)		 Transfers
£
-
(62,154)
-
(100,000)
20,000
142,154
-		 Balance at
31/03/2023
£
20,000
73,616
50,000
-
20,000
160,000
323,616

27

Film and Video Umbrella

Notes to the Financial Statements Continued For the year ended 31 March 2023

Unrestricted Funds - Previous year

Designated
HR designated fund
Projects designated
fund
Relocation designated
fund
Reserves designated
fund
General
General		 Balance at
01/04/2021
£
-
205,776
-
-
100,000
305,776		 Incoming
resources
£
-
-
-
-
449,628
449,628		 Outgoing
resources
£
-
-
-
-
(421,008)
(421,008)		 Transfers
£
20,000
(70,006)
50,000
100,000
(99,994)
-		 Balance at
31/03/2022
£
20,000
135,770
50,000
100,000
28,626
334,396

Purpose of unrestricted Funds

Website CMS upgrade designated

This fund holds monies designated towards the cost of the website CMS upgrade.

Reserves designated fund

The reserves designated fund holds funds that are ringfenced to ensure the future of the charity in the event of unforseen circumstances.

Relocation designated fund

This fund holds monies designated towards the cost of a future relocation.

HR designated fund

This fund holds monies designated for the cost of recruitment for key posts as they fall vacant.

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

Restricted funds Balance at
01/04/2022
£
18,960
18,960		 Incoming
resources
£
37,666
37,666		 Outgoing
resources
£
(56,626)
(56,626)		 Balance at
31/03/2023
£
-
-

28

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2023

Restricted Funds - Previous year

Restricted funds
Purpose of restricted funds
Restricted funds		 Balance at
01/04/2021
£
63,938
63,938		 Incoming
resources
£
59,256
59,256		 Outgoing
resources
£
(104,234)
(104,234)		 Balance at
31/03/2022
£
18,960
18,960

Restricted funds represent grants and donations made to fund specific projects

17. Analysis of net assets between funds
Tangible Net current Net Assets
fixed assets assets /
(liabilities)
£ £ £
Unrestricted funds
General
General 5,386 154,614 160,000
Designated
HR designated fund - 20,000 20,000
Projects designated fund - 73,616 73,616
Relocation designated - 50,000 50,000
fund
Website CMS upgrade - 20,000 20,000
designated
Restricted funds
5,386 318,230 323,616

29

Film and Video Umbrella Notes to the Financial Statements Continued For the year ended 31 March 2023

Previous year

Previous year
Tangible Net current Net Assets
fixed assets assets /
(liabilities)
£ £ £
Unrestricted funds
General
General 8,696 19,930 28,626
Designated
HR designated fund - 20,000 20,000
Projects designated fund - 135,770 135,770
Relocation designated - 50,000 50,000
fund
Reserves designated - 100,000 100,000
fund
Restricted funds
Restricted funds - 18,960 18,960
8,696 344,660 353,356

30

Film and Video Umbrella Detailed Statement of Financial Activities For the year ended 31 March 2023

INCOME AND ENDOWMENT
Donations and legacies
Donations
Grants receivable
Charitable activities
Project contribution
Sales of Works
Sales of Books
AV Equipment Hires
Film Tax Credit
Sundry Income
Investments
Bank interest receivable
Total incoming resources
EXPENDITURE
Charitable activities
Cost of sales - direct charitable activity
Staff costs - wages & salaries
Staff costs - social security costs
Staff costs - pension contributions
Depreciation - owned assets
Freelancers
Travel, Subsistence, Accommodation
Marketing (Projects General)
Website Hosting and Build
Equipment
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		 £
2023
722
423,967
424,689
76,742
20,000
315
9,313
11,071
2,461
119,902
646
646
545,237
(907)
(87,841)
(17,560)
(6,213)
(2,384)
(7,020)
(2,980)
(9,029)
(3,097)
-
-
(16,173)
(14)
(87,872)
(35,720)
(13,991)
(4,932)
(2,920)
(13,983)
(1,405)
(58,490)
(1,652)
(374,183)		 £
2022
602
445,557
446,159
51,527
-
936
7,353
-
2,874
62,690
35
35
508,884
(362)
(113,536)
-
-
(3,809)
(7,671)
(994)
(1,415)
(2,644)
(1,887)
(609)
(21,573)
(2,138)
(55,694)
(29,910)
(13,278)
(1,371)
(1,164)
(17,742)
(400)
(57,423)
(3,588)
(337,208)

SUPPORT COSTS Management and staff costs

Film and Video Umbrella Detailed Statement of Financial Activities Continued For the year ended 31 March 2023

Staff costs
Staff costs - social security costs
Staff costs - pension contributions
Freelancers
Recruitment and HR
Office running costs
Depreciation - owned assets
Telephone, Internet
Office Equipment
Office Software
Office Stationery / Printing
Postage / Couriers
Entertainment and Travel
Sundry Costs
Unreclaimable VAT
Office Supplies and Maintenance
Premises costs
Rent
Business Rates
Insurance, Security, Alarms, Keys
Utilities (Electricity / Service Charge)
Office Maintenance
Cleaning
Governance costs
Accountancy fees
Legal fees
Cost of trustees' meetings
Total resources expended
Net Expenditure		 (87,877)
(17,560)
(6,213)
(5,012)
(150)
(116,812)
(925)
(3,417)
(4,347)
(3,544)
(173)
(17)
(1,135)
(908)
(4,153)
(417)
(19,036)
(46,910)
(5,413)
(2,017)
(5,567)
(637)
(975)
(61,519)
(2,750)
(550)
(127)
(3,427)
(574,977)
(29,740)		 (84,384)
(14,964)
(6,133)
(5,288)
(1,790)
(112,559)
(1,294)
(3,161)
(279)
(2,994)
(119)
(131)
(1,171)
(2,512)
(2,054)
(829)
(14,544)
(40,500)
(5,335)
(5,513)
(4,918)
-
(975)
(57,241)
(2,750)
(940)
-
(3,690)
(525,242)
(16,358)