qrobut Ahnual Report and Accownts 2020 arebyte Annual Report and Accounts 2020 Contents ## Contents |Contents|||| |---|---|---|---| |Forewords|3|Reference & administrative details|23| |About arebyte|4|Statement of Trustees’ responsibilities|24| |Programme 2020 - Systems|5|Independent examiner’s report to Trustees|24| ||||fff| |arebyte Gallery|7|Statement of fnancial activities|25| |arebyte on Screen|11|Balance Sheet|25| |arebyte Skills|15|Notes to the fnancial statements|26| |Thank you|17||| |arebyte Studios|18||| |Press Highlights|20||| |Report of the Trustees and fnancial statement|21||| |for the year ending 31 December 2020|||| |Report of the Trustees|21||| |Objectives and activities|21||| |Governance & management|22||| |Achievements and Performances|22||| |Financial review|23|Cover Image: Installation view of_Trickle Down, A New Vertical_
Helen Knowles, arebyte Gallery (2020). Image: Mark Stokes|_Sovereignty_,| Cover Image: Installation view of _Trickle Down, A New Vertical Sovereignty_ , Helen Knowles, arebyte Gallery (2020). Image: Mark Stokes 2 arebyte Annual Report and Accounts 2020 Forewords ## Forewords Our 2020 art programme themed ‘Systems’ looked into the current systems and networks in a digitised world: Infrastructures of economics and cryptocurrencies with Helen Knowles, the World Wide Web as an artistic landscape with Olia Lialina, software subculture and open sourcing with Alan Warburton, creative Artificial Intelligence and algorithms through _Real-Time Constraints_ curated with Luba Elliot, systems of power with _POWERPLAY_ in collaboration with The National Gallery in Zimbabwe, as well as webrings, artistic networks, broadcasting and much more. In parallel to this artistic exploration, the outbreak of Covid-19 exposed the larger world-systems at play - and their fragility. With the global economy and the health care system brought to near collapse, a futuristic dystopian narrative was becoming reality, with many people fearing for their job, their safety and their future. But in defiance of the devastating impacts of the pandemic, a truly collective effort for more togetherness emerged online through self-organised actions and new waves of digital tools enabling people to work from home, stay connected to their loved ones and get the vital support they needed. As the digital landscape became our default experience of images and people during the lockdowns, arebyte was forced into a realm which we are already accustomed with – online. As an organisation championing the intersection of art and technology, we closed the doors of _arebyte Gallery_ , but continued virtually on _arebyte on Screen_ , honouring all our commitment with artists, despite the constraints and restrictions. This has led to breakthroughs and innovations with _Real-Time Constraints_ , a group show presented as a browser based plugin, showing the breadth of possibilities when working, curating, thinking and exhibiting art online. Our educational programme _arebyte Skills_ also moved online, offering creative digital skills workshops for beginners and advanced practitioners, the curatorial short course series _From Dada to Tik-Tok_ , and meditation sessions around mindful technology. As a result, we tripled our online audiences in the UK and abroad, achieving a greater reach and access to digital art and creative digital training, which appeared even more relevant in a time of increased levels of loneliness and social exclusion. In the middle of the pandemic, the killing of George Floyd and the wave of protest against structural racism highlighted how cultural representations and institutional practices within our current social, economic and political system of norms maintain racial inequity. The Black Lives Matter movement has sparked widespread conversations and demands for racial inequity to be recognised and addressed in the art industry. arebyte is committed to move forward its work on tackling inequality by diversifying its workforce within its organisation and across its board, in addition to keep ensuring underrepresented communities of artists are incorporated into the programme. Covid-19 also affected _arebyte Studios_ operations. Thanks to appropriate safety measures, we managed to keep our sites across Canning Town, Peckham and Camberwell open, with a recommendation to work from home when possible. This decision allowed our studio holders who use machinery to keep operating. In response to the financial pressure faced by the 150 artists and creative businesses occupying our workspaces, arebyte offered rent reductions from March to December 2020, with additional support from the Creative Land Trust. This initiative helped our creative community to keep afloat during these turbulent times and retain their workspace. The past year revealed our strength as a team, from adapting to a challenging new reality to implementing our expertise to imagine new possibilities. It showed that technology, when used in a meaningful way can help overcome the biggest hurdles, connect multiple voices and embrace a wide range of influences to offer new experiences. Nimrod Vardi Founder and Creative director Claudel Goy Managing director 3 arebyte Annual Report and Accounts 2020 About arebyte ## About arebyte arebyte brings innovative perspectives to art through new technology arebyte leads a pioneering digital art programme at the intersection of new technologies and contemporary cultures. Following the long tradition of artists working across emerging artforms, multiple voices within the digital realm are invited to create multimedia installations at arebyte Gallery and online experiences on arebyte on Screen. Alongside the art programme, arebyte Skills features short courses on digital theory and introductions to creative software and hardware. Through workshops led by digital artists, arebyte Skills provides digital practitioners and newcomers with practical techniques for digital making. arebyte also supports a vibrant community of artists, designers and creative technologists through arebyte Studios, an initiative that provides affordable workspaces to 150 creative professionals across London. 4 arebyte Annual Report and Accounts 2020 Programme 2020 - Systems ## Programme 2020 Systems arebyte 2020 programme themed ‘Systems’ discusses the erratic interplay between the systems we encounter on a daily basis, and how we might use parts of these systems to reconfigure our understanding of the world. From global infrastructures of economics and finance, to organic and environmental systems of growth and reproduction; from computational and technological systems, to collaborative and interdisciplinary systems of discourse and pedagogy, the way our world functions is brought into conversation, opening up a dialogue for critique and exchange. 5 arebyte Annual Report and Accounts 2020 Programme 2020 - Systems _Trickle Down, A New Vertical Sovereignty_ , Gif, Helen Knowles (2020) 6 arebyte Gallery arebyte Annual Report and Accounts 2020 From net art’s inception in the 90s to more recent innovations in computer and immersive technology, arebyte Gallery leads a pioneering programme of multimedia installations in London that push the boundaries of digital art. Installation view of _Trickle Down, A New Vertical Sovereignty_ , Helen Knowles, arebyte Gallery (2020). Image: David Oates HELEN KNOWLES Trickle Down: A New Vertical Sovereignty January 2020 _Solo exhibition co-produced with Future Everything with support from Arts Council England, Whitworth Gallery, The University of Manchester, FACT and One London Bridge_ _Trickle Down, A New Vertical Sovereignty_ is a tokenised four-screen video installation and generative soundscape attached to the blockchain, which explored value systems and wealth disparity. The artwork is composed of auction scenes, performances and choral interludes by different communities such as prisoners, blockchain technology employees, market sellers, and Sotheby’s auction bidders. 7 arebyte Gallery arebyte Annual Report and Accounts 2020 _Going Away.tv Live - The Retreat_ , arebyte Gallery (2020). Image: Max Colson ## GOING AWAY.TV LIVE - THE RETREAT March 2020 _Guest curated by Going away TV Marc Blazel and Alex Harding as part of the Wrong Biennale, including live acts by WorstWorldProblems, Cosmic Caz, Meg Jenkins, Louis Judkins and Adam Paroussos._ Inspired by public access TV and late night talk shows and as part of the Wrong Biennale, Going Away.tv, an online platform hosting live streamed artists’ moving image 24/7, is invited to turn arebyte Gallery into a TV studio, where viewers become the audience for a one off special broadcast, a livestreamed variety show with music, comedy, performances and live visuals from the online platform Going Away.tv archive, featuring 79 artists including Ollie Dook, Louise Ashcroft, Rosie McGinn.They featured work from Duncan Poulton, Louis Judkins, Nikki Lam, Corie McGowan, Chris Collins, Molly Erin McCarthy, Stelios Ilchouk, Ian Bruner and Natalia Skobeeva. ## OLIA LIALINA Best Effort Network March - July 2020 _In collaboration with HeK (Basel), The Photographers’ Gallery (London), the Open Data Institute (London) and Birmingham Open Media (Birmingham)_ Spanning more than 25 years, 90’s net art pioneer Olia Lialina’s work addresses the systematic nature of the Internet through manifestations of intimacy between hardware, software and human mediation. Creating links between the physical body and the virtual space, Olia presents herself in constructed online spaces through her ongoing _Network Portraits_ series and GIF models, accessing and revealing the underlying codes and protocols of developers. Installation view of _Best Effort Network_ , Olia Lialina, arebyte Gallery (2020). Image: Max Colson 8 arebyte Gallery arebyte Annual Report and Accounts 2020 Installation view of _POWERPLAY_ , arebyte Gallery (2020). Image: Max Colson August - September 2020 December - March 2021 at the National Gallery of Zimbabwe in Bulawayo _Co-commissioned with the National Gallery Zimbabwe, with support from the British Council, including works by Mr Color, Bolatito Aderemi Ibitola, Vincent Bezuidenhout, Scumboy, King Debs, Mbakisi Sibanda, Kumbirai Makumbe, and Isaac Kariuki. Virtual Reality iteration by Christopher MacInnes_ _POWERPLAY_ foregrounds the digital arts scene in Africa and presents work by digital artists who are from or based in Nigeria, Kenya, South Africa and Zimbabwe. Discussing the use of technology in creating a sense of identity and place within a digitised world, the artists in the exhibition look at the relationships of power experienced in varying ways. Through newly commissioned and re-imagined work, _POWERPLAY_ addresses isolation and alienation; societal bias around gender and race; transformation of being; the politics of borders and migration; dark markets of trade; and communities who work outside of the mainstream economy. ## ALAN WARBURTON RGBFAQ October 2020 - May 2021 _RGBFAQ_ new commission by UK based artist Alan Warburton comprises a research-led experiential exhibition in which the audience navigates a "blackbox" set populated by gigantic geometric sculptures. Warburton’s ambitious new video essay is projection mapped onto this sculptural background, expanding the form of his popular video essays (Goodbye Uncanny Valley, Fairytales of Motion) into an immersive 3D space, with a soundtrack by David Kamp. Installation view of _RGBFAQ_ , Alan Warburton, 2020. Image: Max Colson 9 arebyte Gallery arebyte Annual Report and Accounts 2020 April - August 2020 arebyte yearly artist development programme hotel generation mentors the next generation of UK digital artists during the critical early stages of establishing a career in the arts. It equips young artists with the ability to manage sustainable careers and expose them to new audiences in London, with the aim to expand their network and foster new opportunities. Four participants from UK cities are selected through an open call to take part in a development programme including curatorial guidance, crit by guest artists, studio visits, digital skills and coding workshops, fundraising and marketing workshops. The programme culminates in a solo show at arebyte Gallery for the winning artists shortlisted by a panel of judges. The three other finalists have the opportunity to show an online iteration of their work as part of arebyte on Screen. Still from _Tender spot in hard code_ , Kate Frances Still from _[Ad]ssemblage_ , Radley Cook, 2021 Lingard, 2021 ## HOTEL GENERATION 2020 PANEL OF JUDGES ## _Zach Blas_ (Artist and writer, London) ## HOTEL GENERATION 2020 PARTICIPANTS ## _Helen Starr_ (Curator-in-residence at FACT, Liverpool) _Kate Frances Lingard_ Glasgow & Blackpool 2020 Winning Artist ## _Hannah Redler Hawes_ (Associate Art Curator and Director, Data as Culture at the ODI, London) _Georgia Tucker_ Birmingham ## _Erin Weible_ (Engagement Director at Microsoft Art Collection, Seattle) _Sarah Danaher_ Leicester & Leeds ## _Klio Krajewska_ (Head of New Media Arts Development at Watermans Art Centre, London). _Radley Cook_ Penzance Still from _Dataism Confessional_ , Sarah Danaher, Still from _Advena_ , Georgia Tucker, 2021 2021 10 arebyte On Screen arebyte Annual Report and Accounts 2020 ## THE ART OF NO LIKES arebyte on Screen is an expanded and innovative platform experimenting with new forms of curating online from digital animations, videos, or web-based interactive experiences. April - July 2020 _Guest-curated by HERVISIONS with works by Brenna Murphy, Sarah Friend, Sandra Crisp and Julieta Gil_ Conceived by Hervision, a femme-focussed curatorial agency run by Zaiba Jabber, The Art Of No Likes is an ongoing critical investigation into the implications of standardisations within social media infrastructures that harvest, manifest and intertwine the production of exhibitions in time-based media. The project shines a critical gaze on the gatekeepers of these infrastructures, their associated “economies of like” and related systems of value judgments inherent to capitalist social media platforms. Still from _Perverse Affordances_ , Sarah Friend, 2020 11 arebyte On Screen **arebyte Annual Report and Accounts 2020** In-Grid, 2020 IN-GRID June - July 2020 _Goldsmiths Computing Department Residency with works by Daniah Alsaleh, Rebecca Aston, Baqi Ba, Megan Benson, Jingyi Chen, Batool Desouky, Panja Göbel, Robert Hall, Veera Jussila, James Lawton, Yasmin Morgan, Lauma Muižaraja, Karen Okpoti, Gabor Paszti, Hazel Ryan, Annan Sang, George Simms, Katie Tindle, Johanna de Verdier, Hristo Yordanov, Ziwei Wu, Yishuai Zhang_ Through a public programme of talks, artistic intervention, performances, the live platform _In-Grid_ created and run by the students with arebyte's support questioned how we communicate as individuals and as collectives, the potential of the digital, and its threat to privacy, agency and equity. REAL TIME CONSTRAINTS July - September 2020 _Co-curated with Luba Elliot with works by Gretchen Andrew, Sofia Crespo X Dark Fractures, DISNOVATION, Jake Elwes, Ben Grosser, Libby Heaney, and Joel Simon_ Taking the form of a browser plug-in, the exhibition brings forward the complexities of the present-tense in light of the emergence of technologies such as artificial intelligence, algorithms, and machine learning, big. The exhibition reveals itself as a series of pop-ups where works generated using real-time information are disseminated over the duration of a typical working day, interrupting the viewer’s screen to provide a ‘stopping cue’ from relentless scrolling, email notifications and other computer-centered, interface-driven work. Still from _Zizi - Queering the Dataset_ , Jake Elwes, 2019 **12** arebyte On Screen arebyte Annual Report and Accounts 2020 _Hypertension_ , still from _reality island is elsewhere_ , Katrin Niedermeier (2019/2020) ## HYPERTENSION August - October 2020 _Guest-curated by Pylon Hub with works by Katrin Niedermeier and Johanna Bruckner_ _Hypertension_ looks into concepts of the human body and imagines possible current and future scenarios of human expression, intimacy and body related issues in the virtual and the analogue space, with works spanning video, animation, text and augmented reality. ## ART HOMEPAGE FAIR November 2020 - January 2021 _Guest-curated by IDPW and EXONEMO with works by Tiz Creel, Alex Kiefer, jeeyoonhyun, Cezar Mocan, Guillaume Piccarreta, zzyw, James Scott, Claudia Hart, JF DONALDSON, TOFU, forevermidi.com, beverley, Sasha lynn Roberts, Dominik Podsiadły, albertallgaier, EARTH HALL, Rebecca Edwards, Garry Ing, Pablo, Konstantina Mavridou, sandra araújo, Matthew Keff, Molly, Kevin Cadena, Yiran Wang, Sembo, ninini, Mark Ramos, Michael Mandiberg, Compiler, Angy Vardalou, Image Field by Jieyuan Huang, Jody Zellen, Ráchel Plutón, Follow The Gloss, Shinji Toya, bjørn magnhildøen, Ryan Patterson, Babak Ahteshamipour, Claire Yspol, Faith Holland, Alix Van Ripato, bob, période, dvd, jiawen, Aidan Lincoln, Pat Shiu, Patrick Boehmcke, zsolt, Domenico Barra [Altered_Data], Florian Braakman, hgw, Aoibheann Brady, TOMAKI, Lee Tusman, karina zavidova_ _Art Homepage Fair_ is an online fair that brings together art homepages, or “homemade” webpages. Creators from different backgrounds are invited to exhibit one homepage each on the site. Visitors are able to browse the entries and encounter unique art homepages, communicate with creators, and discover a new home of the internet. _Art Homepage Fair_ , arthomepagefair.net, Ryan Patterson, 2020 13 arebyte On Screen arebyte Annual Report and Accounts 2020 THE ARTIST CHAIN Aug - Dec 2020 The Artist chain is an endless digital trail of works where arebyte selects the first artist of the chain, who then invites the next artist to participate, forming a dialogue between peer groups around the world. Heath Bunting _Velocity_ Nora Adwan _The Screens_ Maria Zeylan Kanellou _Mutation_ Ariel Helyes _Born Today Dead Today_ Garrett Pruter Halloween Gabriela Saucedo _Sixth Sun_ Mutedasmanner _resting//another love language_ Maria Fernanda eccchobunny _Labor Studies 0x000000EF (CRITICAL_ PROCESS_DIED)_ Alice VandeleurBoorer _Jet Slag_ Jay Darlington _free_fall_ Sarah Ann Banks Reverse Wormhole Laurie Lax _A Thing Done and Who Did it_ Benjamin Hall _A Compression Artefactualism_ Snow Yunxue Fu _Conjoin (Chapter 3)_ Eamon O’Kane Kjersti Sundland _SOAP To the thinker who is not the gardener, only the soil of the plants that grow_ Nuka Nayu _SLEEPAWAKE CHAOSKAMPF: OFFICIAL TRAILER_ Lissette Bustamante _Yendo_ Abbi Fletcher Lily Gabrielle Williams _CYMON System.Error_ 14 arebyte Skills arebyte Annual Report and Accounts 2020 arebyte Skills features short courses on digital theory and workshops on creative software and hardware led by digital artists, for all ages. ## DIGITAL SKILLS WORKSHOPS From introductory to more advanced sessions on coding, 3D designing, sound editing, cross-platform game engines and virtual world-making, arebyte Skills provides participants hands-on tools for digital making to apply in their creative development, whether they are beginners or art practitioners. 15 arebyte Skills arebyte Annual Report and Accounts 2020 ## DIGITAL ART CURATION SHORT COURSES How can artists use social media to show their works? What strategies can you employ to curate a show on an algorithm-driven digital platform? These are just a few of the questions addressed by curator and media theorist, Filippo Lorenzin, in this 8-episodes online course looking at the history and theory of making and disseminating art projects on and using the web. ## DIGITAL MEDITATION SERIES _More than Mindfulness_ is a three-part meditation series led by Dr. Tamara Russell, a clinical psychologist, neuroscientist and martial artist specializing in creative mindfulness and mindful technology. These short meditations are designed to help artists during the pandemic to navigate these turbulent times through practicing self-care, taking time to rest and restore, but also to tame and train our attention. 16 arebyte Annual Report and Accounts 2020 Thank You ## Thank you! forevermidi.com Gabor Paszti Gabriela Saucedo Garrett Pruter Garry Ing George Simms Georgia Tucker Goingaway.tv Gretchen Andrew Guillaume Piccarreta Guy Oliver Hannah Marine Hazel Brill Hazel Ryan Heath Bunting Helen Knowles Aaron McCarthy Christopher MacInnes Aaron Ratajczyk Cielo Saucedo Abbi Fletcher CJ Park Adam Paroussos Claire Yspol Adonis Archontides Claude Piguet Aidan Lincoln Claudia Hart Ajla Yi Coby-Rae Crosbie Alan Warburton collectif_fact albertallgaier Compiler Alex Harding Corie McGowan Alex Kiefer Cosmic Caz Alfie Dwyer Cyrus Hung Alice Vandeleur-Boorer Daniah Alsaleh Alif Ibrahim Daniel Seo Alix Van Ripato Dark Fractures Amanda Rice Dave Greber Amy Robson digostudio Angy Vardalou DISNOVATION Annan Sang Domenico Barra [Altered_Data] Annelore Schneider Dominik Podsiadły Antonio Roberts Don Elektro Aoibheann Brady Doreen A. Ríos April Lin Dr. Tamara Russell Ariel Helyes Duncan Poulton Babak Ahteshamipour dvd Baqi Ba Eamon O’Kane Batool Desouky EARTH HALL Ben Grosser Edgar Alan Rodriguez Castillo Benjamin Hall Edward Martin Bertram von Undall Ellie Antoniou beverley Elliott Burns bjørn magnhildøen Enda O’Riordan bob Esther Gatón Bolatito Aderemi Ibitola Everest Pipkin Brenna Murphy EXONEMO Cezar Mocan Faith Holland Charlie Ratcliffe Fengyi Zhu Chinar Shah Fergus Carmichael Chloe Alexandra Thompson Filippo Lorenzin Chris Collins Florian Braakman Chris Paul Daniels Follow The Gloss hgw Hristo Yordanov Ian Bruner IDPW Inhee Park Isaac Kariuki Isabella Benshimol Jake Elwes Jakob Kudsk Steensen James Lawton James McColl James Scott James Tabbush Jasmine Lin Jay Darlington jeeyoonhyun Jessica Ekomane Jessy Jetpacks JF DONALDSON jiawen Jieyuan Huang Jingyi Chen Jinia Tasnin Jody Zellen Joel Simon Edgar Alan Rodriguez Castillo Edward Martin Ellie Antoniou Elliott Burns Enda O’Riordan Esther Gatón Everest Pipkin EXONEMO Faith Holland Fengyi Zhu Fergus Carmichael Filippo Lorenzin Florian Braakman Follow The Gloss ## artists and curators we worked with in 2020 Sasha lynn Roberts Scumboy (Oliver Hunter Pohorille) Selden Paterson Sembo Shinji Toya Sid Smith Smriti Mehra Snow Yunxue Fu Sofia Crespo Sora Park Stach Zagorski Stelios Ilchouk Stine Deja Studio Above&Below Tabitha Beresford-Webb Tea Strazicic Ted Le Swer Theo Tagholm Thomas Yeomans Tiz Creel TOFU TOMAKI Tomasz Kobialka Veera Jussila Vincent Bezuidenhout Wilf Speller Will Kendrick William Cook WorstWorldProblems Xinyu Ma Yasamin Ghalehnoie Yasmin Morgan Yiran Wang Yishuai Zhang Yoojin Lee Zaiba Jabbar (HERVISIONS) Ziwei Wu zsolt zzyw Johanna Bruckner Johanna de Verdier Johnny Ray Alt Julieta Gil Kara Gut Karen Okpoti karina zavidova Kate Frances Lingard Katie Tindle Katrin Niedermeier Katrina Stamatopoulos Kendall Glover Kevin Cadena Kiah Reading King Debs Kjersti Sundland Konstantina Mavridou Kumbirai Makumbe Lambert Duchesne Lauma Muižaraja Laurie Lax Lee Tusman Leslie Johnson Libby Heaney Lily Gabrielle Williams Lissette Bustamante Lotte Rose Kjær Skau Louis Judkins Louise Ashcroft Luba Elliot Luke Nairn Marc Blazel María Fernanda Maria Zeylan Kanellou Marion Balac Mark Ramos Mati Jhurry Matthew Keff Maurício Joseb Mbakisi Sibanda Meg Jenkins Megan Benson Michael Mandiberg Molly Erin McCarthy Mr Color (Niyi Okeowo) Mutedasmanner Naomi Fitzsimmons Natalia Skobeeva Nikki Lam ninini Nora Adwan Nuka Nayu Olia Lialina (RU/DE) Ollie Dook Pablo Panja Göbel Pat Shiu Patrícia Bandeira Patrick Boehmcke période Petra Szemán Pita Arreola-Burns Pylon Hub Lab Rachel Falconer Ráchel Plutón Radley Cook Rebeca Romero Rebecca Aston Rebecca Edwards Rita Josy Haddoub Robert Hall Rosie McGinn Ruaidhri Ryan Rufus Rock Ryan Patterson Samuel Fouracre sandra araújo Sandra Crisp Sara Sassanelli Sarah Ann Banks Sarah Danaher Sarah Friend 17 arebyte Studios arebyte Annual Report and Accounts 2020 ## AREBYTE STUDIOS - LONDON CITY ISLAND arebyte supports a vibrant community of artists, designers and creative technologists through arebyte Studios, an initiative that provides affordable workspaces to 150 professionals across London. In partnership with developers, councils and private landlords, arebyte sets up flexible workspaces as part of a cultural placemaking strategy. preserving the affordability of premises for artists, creative start-ups and micro businesses, with the ambition to nurture London’s creative workforce and art community. arebyte Studio at London City Island has been set up in partnership with Ballymore, with support from Studiomakers, an initiative led by Outset Contemporary Art Fund. Since 2017, the new development hosts an exciting community of 30 artists, designers, makers and creative businesses, with studios, offices and a co-working space. Kokomelt Ltd, arebyte Studios @London City Island, 2020 18 arebyte Annual Report and Accounts 2020 arebyte Studios Young Artist Club, F.A.T. Studio, arebyte Studios @Old Kent Road (2020). Image: Kate Ducker ## AREBYTE STUDIOS - PECKHAM Opened in July 2020, arebyte Studio site on Old Kent Road is located on a two-storey warehouse housing 45 makers and designers. It includes an exhibition space run by artist-led collective Superfluous, and the Old Kent Road Arts Club run by F.A.T. Studio, which connects people living and working in the area through activities for local 15-18 year old, weekly skill-share sessions for local craft enthusiasts, and community-led events. ## AREBYTE STUDIOS - CAMBERWELL arebyte Studios in Camberwell is situated within an industrial complex and comprises 80 creative workspaces for artists and makers. The site also includes a venue available to hire for rehearsals, photo and film shootings. arebyte Studios @Burgess Business Park, 2020 19 Press Highlights arebyte Annual Report and Accounts 2020 ## Press Highlights _Trickle Down, A New Vertical Sovereignty_ featured in CLOT Magazine _POWERPLAY_ featured in NewsDay _Best Effort Network_ featured in Financial Times and The New York Times, Washington Post and Art in America _RGBFAQ_ featured in CLOT Magazine Artist Olia Lialina interviewed for _Best Effort Network_ in Art Forum, Elephant Magazine, Der Spiegel and The Quietus _Real-Time Constraints_ featured in Art Monthly 20 Report of the Trustees and financial statement for the year ending 31 December 2020 arebyte Annual Report and Accounts 2020 Report of the Trustees and financial statement for the year ending 31 December 2020 ## REPORT OF THE TRUSTEES The trustees are pleased to present their annual report together with the charity’s statement of accounts for the financial year ended 31 December 2020. The financial statements comply with the Charity Act (2011), the memorandum and articles of association of arebyte (‘foundation model’ offered by the Charity Commission), and the provisions of the Statement of Recommended Practice (SORP) "Accounting and Reporting by Charities" 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). ## OBJECTIVES AND ACTIVITIES In pursuing arebyte’s charitable objectives through its main activities, the trustees hold regard to the Charity Commission’s guidance on public benefit. The organisation’s charitable objectives as registered with the Charity Commission are to advance education in the fields of digital and performance art by the establishment and maintenance of an art gallery, and in particular the production of artistic projects, and facilitating the development of emerging artists and their audiences. arebyte’s mission is to bring innovative perspectives to art through new technologies. - arebyte Gallery commissions artists who push the boundaries of digital art through multimedia installations that use projection mapping, spatial soundscapes, virtual and augmented reality, artificial intelligence, and computer generated imagery. - arebyte on Screen offers artists and curators an expanded and innovative online platform for digital animations, videos, webbased interactive experiences and curatorial interventions. - arebyte Skills features short courses and workshops to creative software providing practitioners and newcomers with practical techniques for digital making. - arebyte Studios supports a vibrant community of artists, designers and creative technologists through affordable workspaces 21 Report of the Trustees and financial statement for the year ending 31 December 2020 arebyte Annual Report and Accounts 2020 The 2020-2022 three-year audience development plan aims to: - Grow audiences: reach more people online and onsite across all audience segments - Maintain existing audiences: increase depth of experience and develop loyalty - Diversity in programming: embrace a wide range of influences to ensure underrepresented communities of artists are incorporated into the programme - Attract the less engaged to contemporary and digital art arebyte’s longer term plan is to set up a digital art center in London centered around digital experience, digital making and digital training. ## GOVERNANCE AND MANAGEMENT ## _RECRUITMENT AND APPOINTMENT OF TRUSTEE_ S The members of the Board are the trustees of the charity under charity law. They are the only voting members. Each trustee is appointed for a term of 2 years. All trustees offer their services on a voluntary basis and no funds are held as custodian trustees. In selecting a new trustee, the trustees must have regard to the skills, knowledge and experience needed for the effective management of the charity. Appointment of trustees is by resolution passed at a properly convened meeting of trustees. Before or on the appointment of a new member of the trustee body, a candidate is provided with a copy of the constitution and the latest Trustees’ Annual Report and statement of accounts. ## _ORGANISATION_ The day-to-day direction of arebyte’s affairs is the responsibility of the Managing director and the Creative director who reports to the Board during the trustee’s meeting or in between meetings if needed. ## _RISK MANAGEMENT_ The major risks to arebyte’s activities, finance and reputation have been identified by the Trustees and are reviewed at each Trustees meetings. arebyte rates the importance of risks through consideration of the likelihood of an event occurring, and the seriousness that would arise if the event were to occur. Preventive mitigation actions to reduce the likelihood and/or seriousness are identified, and implemented as a ## priority for higher risks. arebyte has successfully mitigated the risk associated with the Covid-19 pandemic (insufficient staff resources, drop in audiences attendance due to social distancing measures and lockdowns) by shifting elements of its programme online, allowing greater attendance and increased flexibility in terms of project management. ## ACHIEVEMENTS AND PERFORMANCES PROGRAMME Our initiatives provide vital opportunities every year to support the professional development of curators and artists working within digital cultures. From making new work, curating exhibitions, performing, giving talks, delivering workshops or writing contributions, arebyte invites multiple voices to take part in the programme. arebyte aims to inspire more people to engage with digital art, by experiencing arebyte Gallery’s multimedia installations, visiting arebyte on Screen’s online experiences and taking part in arebyte Skill’s digital making workshops. Following the outbreak of the coronavirus, arebyte did rapidly adapt to the changing environment. During the lockdowns, we seized the opportunities digital can unlock in order to stay connected to our audiences and honour our ongoing commitments with artists. Benefiting from a strong expertise in working online, arebyte shifted all of its arebyte Skill programme online, and developed innovative digital tools to curate and bring exhibitions straight to the screen of the viewers. This led to a great coverage in renowned outlets, cementing arebyte’s reputation as one of the most innovative digital art galleries in the UK. In 2020, arebyte tripled its online audiences with 312,000 viewers, evenly spread across London, the UK and abroad, situating arebyte on the international scene. The existing reach outside of Europe to South America, Asia, Australia and Africa has grown impressively, with audiences in African countries quadrupling, thanks to the collaboration with the National Gallery in Zimbabwe on Powerplay featuring artists from Kenya, Nigeria, South Africa and Zimbabwe. 22 Report of the Trustees and financial statement for the year ending 31 December 2020 arebyte Annual Report and Accounts 2020 ## _WORKSPACE PROVISION_ All studios sites have been kept open during the pandemic, with measures put in place to work safely, with the primary focus to keep the studio holders as safe and protected as possible from spreading and contracting the Coronavirus, whilst working in the workspace. In response to the financial pressure faced by the art and creative businesses community, arebyte offered rent and utility reductions to its studio holders the most at risk, from March to June 2020. The discount has been extended until December, thanks to the additional support of the Creative Workspace Resilience Fund from Creative Land Trust. In addition, arebyte provided support and advice on available grants from councils and charities to help balance the loss of income experienced by many. ## FINANCIAL REVIEW ## _PERFORMANCE_ Total income amounts to £456,290 in 2020 (2019: £474,606). Income from charitable activities has increased to £439,966 (2019: £391,355). as a result of an increase of grant income to £109,537 (2019: £39,440) thanks to the British Council’s contribution to Powerplay exhibition, the support provided from Tower Hamlets Council during the months the exhibition space was closed, and the Creative Land Trust’s Creative Workspace Resilience Fund towards arebyte Studios tenants. . ## _EFFICIENCY_ arebyte is focused on delivering the greatest possible public benefit to the widest possible public; this requires to keep our support costs and overall return on investment under close scrutiny. In 2020 arebyte’s support costs increased to £55,252 (2019: £48,837). ## _RESERVES POLICY_ The Trustees review arebyte’s reserves policy on an annual basis to consider the difference between the yearly expenditures and income, and ensure that adequate resources are available to meet liabilities. The charity's reserve policy is to ensure that there are sufficient funds available to meet the anticipated expenditure requirements for a period between 3-6 months. At the end of the 2020 financial year, the reserve level amounted to £118,148 (2019: £82,100) and therefore within the threshold of the policy (£90,000 to £180,000). ## _REFERENCE & ADMINISTRATIVE DETAILS_ Charity name: arebyte CIO Charity type: Charitable incorporated organisation Charity number: 1167185 Registration date: 18 May 2016 Principal office: Java House 7 Botanic Square London City Island E14 0LG Trustees: Nimrod Vardi Jonatan Jona Adriana Marques Hajnalka Semsei Guy Armitage Financial year end: 31 December Independent examiner: Morris Crocker Morris Crocker Station House, 50 North Street, Havant, Hants PO9 1QU Bankers: HSBC Bank plc 465 Bethnal Green Road, London E2 9QW PayPal (Europe) S.à.r.l. et Cie, S.C.A, 22-24 Boulevard Royal L-2449, Luxembourg 23 Report of the Trustees and financial statement for the year ending 31 December 2020 arebyte Annual Report and Accounts 2020 ## STATEMENT OF TRUSTEES’ INDEPENDENT RESPONSIBILITIES EXAMINER’S REPORT TO TRUSTEES The trustees are responsible for preparing the Trustees' Annual Report and the statement of accounts in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). I report to the charity trustees on my examination of the accounts of arebyte (the Trust) for the year ended 31 December 2020. ## _RESPONSIBILITIES AND BASIS OF REPORT_ As the charity trustees of the Trust you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ('the Act'). The trustees have had due regard to guidance published by the Charity Commission on public benefit. They believe the activities and achievements discussed in this report clearly show how the charity brings benefit to the public. The trustees are not aware and have no knowledge of any serious incidents or other such matters that should be reported to the Commission. I report in respect of my examination of the Trust's accounts carried out under section 145 of the Act and in carrying out my examination I have followed all applicable Directions given by the Charity Commission under section 145(5)(b) of the Act. Approved by order of the board of trustees on 25 October 2021 and signed on its behalf by: ## _INDEPENDENT EXAMINER'S STATEMENT_ Since your charity's gross income exceeded £250,000 your examiner must be a member of a listed body. I can confirm that I am qualified to undertake the examination because I am a registered member of FCCA which is one of the listed bodies. I have completed my examination. I confirm that no material matters have ....................................................... Hajnalka Semsei - Trustee 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 Trust as required by section 130 of the Act; or 2. the accounts do not accord with those records; or 3. 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. ....................................................... PJ Underwood FCCA Morris Crocker Chartered Accountants, Station House, North Street, Havant Hampshire PO9 1QU Date: 28 October 2021 24 Statement of financial activities Balance Sheet arebyte Annual Report and Accounts 2020 ## **AREBYTE** ## **STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31 DECEMBER 2020** |
Notes
**INCOME AND ENDOWMENTS FROM**
Donations and legacies
2
**Charitable activities**
3
Programme and Studios
**Total**
**EXPENDITURE ON**
**Charitable activities**
4
Programme and Studios
**NET INCOME**
**RECONCILIATION OF FUNDS**
**Total funds brought forward**
**TOTAL FUNDS CARRIED FORWARD**|Unrestricted
fund
£
16,324
355,429
371,753
341,268
30,485
86,236
116,721|Restricted
funds
£
-
84,537
84,537
80,133
4,404
-
4,404|2020
Total
funds
£
16,324
439,966
456,290
421,401
34,889
86,236
121,125|2019
Total
funds
£
83,251
391,355| |---|---|---|---|---| |||||474,606
403,918| |||||70,688
15,548| |||||86,236| ## **AREBYTE** |**BALANCE SHEET**
**31 DECEMBER 2020**
Notes
**FIXED ASSETS**
Tangible assets
9
**CURRENT ASSETS**
Debtors
10
Cash at bank
**CREDITORS**
Amounts falling due within one year
11
**NET CURRENT ASSETS**
**TOTAL ASSETS LESS CURRENT**
**LIABILITIES**
**NET ASSETS**
**FUNDS**
13
Unrestricted funds
Restricted funds
**TOTAL FUNDS**|2020
£
2,977
36,032
151,653
187,685
(69,537)
118,148
121,125
121,125
116,721
4,404
121,125|2019
£
4,136
4,893
137,556
142,449
(60,349)
82,100
86,236
86,236
86,236
-
86,236| |---|---|---| The financial statements were approved by the Board of Trustees and authorised for issue on ............................................. and were signed on its behalf by: 25 October 2021 ............................................. H Semsei - Trustee The notes form part of these financial statements The notes form part of these financial statements 25 Notes to the financial statements arebyte Annual Report and Accounts 2020 ## **AREBYTE** ## **NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2020** ## **1. ACCOUNTING POLICIES** ## **Basis of preparing the financial statements** The financial statements of the charity, which is a public benefit entity under FRS 102, have been prepared 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' and the Charities Act 2011. The financial statements have been prepared under the historical cost convention. ## **Income** All income is recognised in the Statement of Financial Activities once the charity has entitlement to the funds, it is probable that the income will be received and the amount can be measured reliably. ## **Expenditure** Liabilities are recognised as expenditure as soon as there is a legal or constructive obligation committing the charity to that expenditure, it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably. Expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all cost related to the category. Where costs cannot be directly attributed to particular headings they have been allocated to activities on a basis consistent with the use of resources. ## **Taxation** The charity is exempt from tax on its charitable activities. ## **Fund accounting** Unrestricted funds can be used in accordance with the charitable objectives at the discretion of the trustees. Restricted funds can only be used for particular restricted purposes within the objects of the charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes. Further explanation of the nature and purpose of each fund is included in the notes to the financial statements. ## **Financial instruments** The charity only enters into basic financial instruments transactions that result in the recognition of financial assets and liabilities like trade and other accounts receivable and payable and investments in stocks and shares. The measurement basis used for these instruments is detailed below. ## **Debtors and cash at bank** ## **AREBYTE** ## **NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 DECEMBER 2020** ## **2. DONATIONS AND LEGACIES** |Donations|2020
2019
£
£
16,324
83,251| |---|---| During the year donations in kind were received from Ballymore for rent and service charges totalling £15,916 (2019: £37,926) and other small donations totalling £408 (2019:£290). No donations were received from Grosvenor estate in 2020 (2019: £45,000). ## **3. INCOME FROM CHARITABLE ACTIVITIES** |Activity
Grants
Programme and Studios
Curatorial income
Programme and Studios
Ticket sales
Programme and Studios
Art sales
Programme and Studios
Studio rental income
Programme and Studios
Venue hire income
Programme and Studios
Grants received, included in the above, are as follows:
ACE Arts Council England - Programme 2020
Diversity Art Forum
British council - Power Play
Creative Land Trust - Creative Workspace Resilient Fund
Tower Hamlets Council - Covid 19|2020
£
109,537
500
300
500
325,829
3,300
439,966
2020
£
45,000
-
30,000
9,537
25,000
109,537|2019
£
39,400
1,600
(28)
850
335,910
13,623| |---|---|---| |||391,355| |||2019
£
39,000
400
-
-
-| |||39,400| Grants received, included in the above, are as follows: ## **4. CHARITABLE ACTIVITIES COSTS** |Programme and Studios|Direct
Costs
£
366,149|Support
costs (see
note 5)
Totals
£
£
55,252
421,401| |---|---|---| Trade and other debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due. Cash at bank and in hand included cash held on deposit or in a current account. ## **Creditors and provisions** Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions are normally recognised at their settlement amount after allowing for any trade discounts due. 26 Notes to the financial statements arebyte Annual Report and Accounts 2020 ## **AREBYTE** ## **NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 DECEMBER 2020** ## **5. SUPPORT COSTS** |Management
£
Programme and Studios
52,730|G
Finance
£
4|overnance
costs
Totals
£
£
2,518
55,252| |---|---|---| Support costs, included in the above, are as follows: ## **Management** |2020
Programme
and
Studios
£
Wages
27,680
Internet
7,208
Postage and stationery
1,129
Advertising & marketing
9,315
Books
-
Staff training
198
IT Software
2,573
Subscriptions
199
Travel & hospitality
743
Depreciation of tangible and heritage
assets
3,685
52,730
**Finance**
2020
Programme
and
Studios
£
Bank charges
4
**Governance costs**
2020
Programme
and
Studios
£
Accountancy and consultancy
2,518|2019
Total
activities
£
23,637
4,688
642
3,837
158
689
1,215
64
2,500
4,185
41,615
2019
Total
activities
£
27
2019
Total
activities
£
7,195| |---|---| ## **AREBYTE** ## **NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 DECEMBER 2020** ## **6. TRUSTEES' REMUNERATION AND BENEFITS** In terms of remuneration of trustees, the charity uses as basis for its governance the model constitution provided by the Charity Commission, specifically clause 6. Of the charity trustees in 2020, one trustee was compensated for their services during the financial year, which means in reference to clause 6.(3)(g) that the majority of the charity trustees then in office were not in receipt of remuneration or payments authorised by clause 6. Nimrod Vardi was paid £17,400 (2019: £18,420) specifically and exclusively for his extensive managerial attention to the gallery and property operations in this dynamic period of the charity. Nimrod Vardi stepped down as Trustee on the 17th October 2020 therefore no salaries after October 2020 were a related party issue. No trustee was paid for their function as trustee. ## **Trustees' expenses** There were no trustee's travel expenses paid for the year ended 31 December 2020 (2019: £26). ## **7. STAFF COSTS** The average monthly number of employees during the year was as follows: |Administration
Charitable activities
No employees received emoluments in excess of £60,000.
**8.**
**COMPARATIVES FOR THE STATEMENT OF FINANCIAL A**

**INCOME AND ENDOWMENTS FROM**
Donations and legacies
**Charitable activities**
Programme and Studios
**Total**
**EXPENDITURE ON**
**Charitable activities**
Programme and Studios
**NET INCOME**
**RECONCILIATION OF FUNDS**
**Total funds brought forward**
**TOTAL FUNDS CARRIED FORWARD**|**CTIVITIES - 2**
Unrestricted
fund
£
83,251
351,955
435,206
364,518
70,688
15,548
86,236|2020
1
1
2
**019**
Restricted
funds
£
-
39,400
39,400
39,400
-
-
-|2019
1
-
1
Total
funds
£
83,251
391,355| |---|---|---|---| ||||474,606
403,918| ||||70,688
15,548| ||||86,236| Page 17 continued... 27 Notes to the financial statements arebyte Annual Report and Accounts 2020 ## **AREBYTE** ## **NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 DECEMBER 2020** ## **9. TANGIBLE FIXED ASSETS** |Plant and
machinery
£
**COST**
At 1 January 2020
11,918
Additions
2,308
At 31 December 2020
14,226
**DEPRECIATION**
At 1 January 2020
8,244
Charge for year
3,330
At 31 December 2020
11,574
**NET BOOK VALUE**
At 31 December 2020
2,652
At 31 December 2019
3,674|Fixtures
and
fittings
£
3,123
-
3,123
2,661
282
2,943
180
462|Library
books
£
582
217
799
582
72
654
145
-|Totals
£
15,623
2,525| |---|---|---|---| ||||18,148| ||||11,487
3,684| ||||15,171| ||||2,977| ||||4,136| ## **10. DEBTORS: AMOUNTS FALLING DUE WITHIN ONE YEAR** |Trade debtors
Prepayments and accrued income|2020
£
28,532
7,500
36,032|2019
£
993
3,900| |---|---|---| |||4,893| ## **11. CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR** |Studio holders deposits
Accruals and deferred income
Brought forward
Amount released to incoming resources
Amount deferred in year
Carried forward|2020
£
67,901
1,636
69,537
2020
£

-
-
-
-|2019
£
58,745
1,604| |---|---|---| |||60,349| |||2019
£
1,373
(1,373)
-
-| ## **AREBYTE** ## **NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 DECEMBER 2020** ## **12. ANALYSIS OF NET ASSETS BETWEEN FUNDS** |
Fixed assets
Current assets
Current liabilities
**MOVEMENT IN FUNDS**
**Unrestricted funds**
General fund
**Restricted funds**
Power Play exhibition
**TOTAL FUNDS**
Net movement in funds, included in the abov
**Unrestricted funds**
General fund
**Restricted funds**
ACE Arts Council England -
Programme 2020
Power Play exhibition
Creative Land Trust - Creative
Workspace Resilient Fund
**TOTAL FUNDS**|Unrestricted
fund
£
2,977
183,281
(69,537)
116,721
e are as follows||Restricted
funds
£
-
4,404
-
4,404
At 1.1.20
£
86,236
-
86,236

Incoming
resources
£
371,753
45,000
30,000
9,537
84,537
456,290|| |---|---|---|---|---| |||||| |||:
||| |||||| |||||| ## **13. MOVEMENT IN FUNDS** ## **Comparatives for movement in funds** |**Unrestricted funds**
General fund
**TOTAL FUNDS**|
At 1.1.19
£
15,548
15,548|Net
movement
in funds

£
70,688
70,688|At
31.12.19
£
86,236| |---|---|---|---| ||||86,236| ||||| 28 Notes to the financial statements arebyte Annual Report and Accounts 2020 ## **AREBYTE** **NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 DECEMBER 2020** ## **13. MOVEMENT IN FUNDS - continued** Comparative net movement in funds, included in the above are as follows: |**Unrestricted funds**
General fund
**Restricted funds**
ACE Arts Council England -
Programme 2020
Diversity Art Forum
**TOTAL FUNDS**|Incoming
resources
£
435,206
39,000
400
39,400
474,606|Resources
expended
£
(364,518)
(39,000)
(400)
(39,400)
(403,918)|Movement
in funds
£
70,688
-
-
-
70,688| |---|---|---|---| ACE Arts Council England Restricted financing of Concertina exhibition launching the new gallery. PowerPlay A catalyst for the creation of art that reaches new audiences in Sub-Saharan Africa and the UK. The Creative Land Trust To reduce occupancy costs for artists, makers and other creative tenants during Covid - 19. ## **14. RELATED PARTY DISCLOSURES** The charity enjoys a close working relationship with Arbeit Project Ltd, whose two owner-directors Hajnalka Semsei and Nimrod Vardi were trustees of Arebyte during the year. Nimrod Vardi stepped down as a trustee on the 17th October 2020 but is still acting as a Creative Director. Nimrod Vardi was paid £17,400 (2019: £18,420) specifically and exclusively for his extensive managerial attention to the gallery and property operations in this dynamic period of the charity. No trustee was paid for their function as trustee. 29