ANNUAL REPORT & ACCOUNTS 2023/2Q24
ea 3 Foreword
5 i# Our creative focus: The Body, The Mind, The Soul 2 a “VS2 eh é 2
16 arebyte Studios
17 Press Highlights
16 Impact
19 Report of the Trustees and financial statement
Zach Blas, CULTUS, 2023. Installation view, arebyte Gallery, London. Image: Ellinor Paik.
PUTCS) é' ~ rkZBbaPdzW8V+Pt2s : ~ : j
IPV4: xxx.2008 renowned artists and nurturing emerging talent, reflecting i Z - Kescacraiv ’ J This year, we closed our studio site in Camberwell, a creative > Foreword KK, » Xx. DESKTOP ia ninesig6 ; WRRO.0 XX.(ENGINE:KK GECKO ila, our commitment to community engagement with creative 9 hae oe 77 a , hub of 95 artists over seven years. This closure highlights 7 4 0/20100101 FIREY v fiH media technology across age groups. Our 2023/24 ae 7 that our growth and staff professionalisation depend on a ——" ii.‘ 2023/24 has been a pivotal year, marking our 10th - “ - ee partnerships with peer organisations such as Quad, Neon, rasl + i; 1 sustainable model requiring ongoing renewal. When one site ) r , ae anniversary and successful inclusion in Arts Council F 7 es and FACT focused on supporting young artists in the UK. _ , closes, finding new spaces becomes a challenge in London’s r, EF "y": 482, “valu@ a England’s National Portfolio, a key funding programme. F 7 be sic alo > ae Our ongoing collaboration with UCL East creates |; aei} - = rf i{ aia shifting property landscape, often leaving artists vulnerable — Re":a S}, { een"x": 1264 This provides crucial stability for the next four years to champion digital art, expand our ambitions, and sustain t F ee aTs ki opportunities for university BA Media students through placements and residencies. Our artistic gaming a l , ] KasS) without immediate alternatives. Affordable workspace remains central to our mission, and this challenge —— pes1, “y":B Hy489,E “es“valued é i . , i io Ni the vibrant community we’ve built over the past decade. J al —. programme caters to ELAM Game Design College ye ; Mh 7 strengthens our commitment to securing a permanent site. a e": 5}, z . { i r students, and with our partner youth charity Sirlute, we , +fkz14ZbCP 7 We are actively searching for a space that can unify our BPMSLY) 727+/u Ss, "y": % } We remained dedicated to enhancing our programme J Y¥z2wcSrl7N5 jd} - Prm3Ue+ 3bXc ov: OF te ait provide activities for children during school holidays. operations, providing stability and continuity for the through partnerships and collaborations. These alliances strengthen our sustainability, facilitate the exchange of * -oe a il ge ine * Fi Fal Together, these initiatives create pathways for aspiring creatives. p j bTUFZviP4z1F fmbWsandG 4 fe 7 ’ ’ communities we support. %, | tt kog0/a be":4, “"yj5 ” best practices, and extend the life of our projects through i‘ ; * ¢ , Fd Looking to the future, we are committed to creating a : — touring. By pooling resources and leveraging external ; ~, 7 \ Inclusivity remains a guiding principle through a _— i dynamic and sustainable environment for digital art. Our a) " a ; —— \ . ’ my - expertise, we can develop ambitious programmes, reach , ~. hcl initiatives highlighting underrepresented voices, like For ai vision for a permanent Digital Art Centre is gaining é wider audiences, and make a greater impact. We 7 5olftoTH: 1920 = Data You Are and To Data You Shall Return and —; al ugtrc.. ss momentum—a dedicated space where tomorrow’s culture is 7 ai)Bei - . commissioned Zach Blas' show with Secession in Vienna Psychedelia, addressing themes of spirituality and ; shaped, creating an ecosystem to support emerging artists and toured it there, we co-curated the online group show ad F VIEWER:Bry: BoerneTRUE Bt of : human connection in the digital age from both Chinese - 8 Wos9C8W.kNSagg j and provide context for the genre. We are grateful for the 3 c Ape 1450; ; For Data You Are with Cronus Art Centre in Shanghai, and ‘Class="uppercase">This and Global South perspectives. We explored diverse —— ongoing support of our partners, artists, and community as EGHAM, ENGLAND AS786; - eT visited Wro Art Centre in Poland through a British Council 8.15 CPU: UNDEFINED cultural narratives, from Vietnamese Buddhism in we work towards this ambitious goal. ‘ grant, which has facilitated larger funding for a touring OSH. - Homage to Quan to Indigenous South American rituals project in 2025 as part of the Wro Biennale. in Minimal Rituals, fostering dialogue between tradition Claudel Goy and contemporary digital practices. Managing Director
Claudel Goy Managing Director
We maintain a balance between featuring internationally
The Body, i é Te Y« The Mind, es ‘ — — The Soul -
Art
Programme 23/24 OF as
The 23/24 programme marks an exciting and important across countless exhibitions, projects, and events, viewed milestone in arebyte’s significant chapter; it is our 10th by hundreds of exhibition formats, residencies, anniversary year, as well as our first year as a National development models, online projects, events, symposiums, Portfolio Organisation (NPO). Over the past 10 years, and festivals. We have worked with and commissioned arebyte has evolved from a small project space in a hundreds of artworks across countless exhibitions, projects, first-floor warehouse in Hackney Wick to one of the and events, viewed by hundreds of thousands of people leading voices in digital arts in the UK, with audiences . a both onsite and online. a and fans worldwide. t P > ; Each year, our artistic and curatorial approach stems from hak yy ee ri In October 2013, we launched arebyte with the a simple idea or concept—usually a word—that is freely and “~ ’ { — exhibition h/u/m/a/n/m/a/c/h/i/n/e by the Japanese intuitively interpreted by the invited artists and curators as ee ~ artist Irie Takahito, who is also the artist behind our ee i me CF 4, ae a starting point or provocation to develop the work. Over logo and branding. The exhibition presented a series of the years, the themes we have explored have ranged from body-painted cyborgs inspired by the anime Gundam the sites, spaces, and processes of artistic research and series. Although it did not involve digital technologies production to societal questions of control, isolation, and per se, it served as a call to action and launched our separation, and the exploration of the systems that govern journey as an arts space dedicated to exploring the our world and the methods and strategies we use to intersection of art and the technologies that shape and challenge these very structures.
Unintentionally, but perhaps subconsciously, our 2023-2026 programme, titled “The Body, The Mind, The Soul”, continues the 2013 theme of “The body and technology,” exploring what it means to be human in a digital age and reflecting on the the impact of new SS SR technologies on how we understand and experience RA
Throughout the years, arebyte has transformed and experimented with various curatorial modes, exhibition formats, residencies, development models, online at projects, events, symposiums, and festivals. We have f Yh worked with and commissioned hundreds of artworks wy j AN
and technology,” exploring what it means to be human in a digital age and reflecting on the impact of new technologies on how we understand and experience the world and our relationship to it, both conceptually and practically. i Within the first year of this three-year programme, we é Te Y« managed to offer a wide spectrum of perspectives on es the theme, using exhibitions, events, and educational pAe activities to explore a multiplicity of topics and ideas. We discussed themes of religion from a technological ‘ — — aspect, contemplating the potential of an AI god, as = well as from a human and personal perspective, such as growing up in a Buddhist family in a Western country. We explored digital death and reincarnation, shamanistic rituals, and psychedelic experiences. We also delved into the possibilities of embodying fictional characters and storytelling, and created and played games envisioning speculative futures.
We started the year with Towards a Cosmotechnic Psychedelia, an event curated by artist Helen Knowles—an exploration of psychedelics and plant-based medicinal tools and their impact on OF as Western culture through ethical, moral, and social Ae
perspectives. We continued with an exploration of shamanistic rituals in MINIMAL RITUALS, an online exhibition presented on the arebyte Plugin tool, curated by Doreen E. Rios. Featuring works by Latin American artists, the exhibition celebrates the delicate encounters and serendipitous rituals that unfold at our fingertips while navigating the web. . a t P In 2023, we commissioned our most ambitious project hak yy to date, CULTUS by US artist Zach Blas, which “~ ’ { — transformed the gallery into an immersive place of worship incorporating AI-generated visuals, sounds, ee i me CF 4, and texts. The project featured a custom-made 1.5m LED sphere hovering over an LED altar, accompanied by six-channel audio and unique artefacts, creating a church-like immersive environment depicting rituals of AI gods and their sermons.
We hosted a day-long symposium, Areas Of Effect: Planar Systems, Critical Roles, and Gaming Imaginaries, curated by artist David Blandy and writer Jamie Sutcliffe, which explored tabletop role-playing games (TTRPGs) as forms of play, examining the at possibilities of embodying fictional characters and f Yh creatures, imagining fantastical landscapes, and wy j AN
negotiating speculative scenarios.
Maria Than, who was awarded the Hotel Generation solo commission, Homage To Quan Am, brought her personal journey from childhood to adulthood in a
Vietnamese-British-French Buddhist family. Similar to CULTUS, the exhibition also explored religious themes, but a from a personal and traditional perspective, addressing the > ; desire to fit into a foreign mainstream cultural ri environment.
Contemplating themes of digital death, rebirth, and reincarnation through various digital media, the online exhibition For Data You Are, And To Data You Shall Return, co-curated by BI Xin with Shanghai-based Chronus Art Center (CAC), presented works by artists from China, the US, and the UK.
Since October 2013 and to this day, we have proudly collaborated with the most incredible individuals—artists, curators, thinkers, and producers—who see and use technology not for its own sake, but to delve deeper into what defines us as individuals and as a society, each with their own language, tools, and ideas. These are people who SS SR shared our ambition, had the clarity to recognize the RA
importance of our work, and the courage to ask the questions that needed to be asked and answered.
As we continue working on next year’s programmes, we want to thank everyone who has contributed to our success over the past 10 years.
Whether you are a current or former peer or colleague, an artist, curator, partner, avatar, individual or organisation, funder, sponsor, writer, contributor, occasional or frequent visitor, workshop leader, participant, performer, regular user, mentor, trustee, lecturer, student, presenter, guest speaker, intern, trainee, neighbour, or anyone else, we thank you for your passion, support, and friendship. Words cannot fully express our gratitude for everyone and everything.
Here’s to the next decade and to bigger and greater things to come.
Thank you
October 2024
Nimrod Vardi Creative director
: Rice ~~te~~ Image: Max Colson. ~~|~~
Image: Max Colson.
7 a Our creative focus 2023-2026: - P . t P pAe hak yy ee The Body, The Mind, The Soul “~ ’ { — — = 4 ee Exploring the human condition, reflecting on the nuance of i me CF 4, ae individual and collective existence within the changing world that now shapes us.
Self-curated artist-led programme, Apr 2023 – Mar 2024
Film screenings and panel discussion in collaboration with Helen Knowles, 27 May 2023
Towards a Cosmotechnic Psychedelia
Presented in collaboration with artist and researcher Helen Knowles, Towards a Cosmotechnic Psychedelia is a screening event followed by a panel conversation looking at alternate states, entity encounters, differing ethical, moral, and social forces, as described in Yuk Hui's concept of 'cosmotechnics'. A framework that continues to shape use of psychedelics and plant-based medicinal tools both in Global South’s communities, like Putumayo in Colombia, and in affluent Western societies.
Helen Knowles Andrea Khora Catherine Bird Péter Bergmann Patricia Domínguez Rebeca Romero Suzanne Treister Ursula Biemann
Towards a Cosmotechnic Psychedelia, 2023. arebyte Gallery, London. Image: Jack Jones.
The Artist Chain
Amina Ross Daphne Jiyeon Jang Misra Walker IVAAIU City Clio Brava Yuseok Bak Khairullah Rahim Jongmin Jung Martin Disley Jae Kong Asad Khan SANGHEE Patricia Wu Wu Yagwang/Kim Terri
----- Start of picture text -----
SANGHEE, still from Oneroom-Babel, 2022.
----- End of picture text -----
The Artist Chain is an online self-curated artist-led programme, where arebyte selects the first artist of the chain, who then invites the next artist to participate, creating an endless digital trail of works. The links created through the Artist Chain present a variety of ideas, concepts and mediums from different parts of the world, forming a dialogue between peer groups.
Solo exhibition, 11 Oct 2023 - 18 Feb 2024
Cultus Zach Blas
Co-commissioned with Secession, Vienna, CULTUS is the second instalment of the Silicon Traces trilogy, a series of moving image installations that contends with the beliefs, fantasies, and histories influential to Silicon Valley’s visions of the future. Spanning queer and speculative engagements with psychedelia, the nootropics industry, California futurism, network infrastructure, and : _~’ ia political resistance, the trilogy surfaces the political unconscious of the tech ae industry. CULTUS looks towards the spiritual and religious associations which are Z grounded in questions of submissive technological worship, esoteric beliefs } conjured by the 1%, and the enduring nature of our relationships with monolithic corporations embraced in trust and subordination. .:
Zach Blas, CULTUS, 2023. Installation view, arebyte Gallery, London. Top image: Max Colson. Bottom image: Ellinor Paik.
Online group exhibition, live from 30 Aug 2023
Minimal Rituals
Doreen A. Ríos (guest curator) César Chirinos Concepción Huerta Sebastián Mira Mónica Nepote Vica Pacheco Ricardo Sierra Flavia Visconte Kira Xonorika
Developed in collaboration with [ANTI]MATERIA, MINIMAL RITUALS is an online exhibition that blurs the boundaries between humans, animals, and machines, and invites us to consider the ways in which technology can be used to reconnect with ourselves and each other through the mineral computation that surrounds us. Featuring a curated selection of works by Latin American artists, the exhibition celebrates the delicate encounters and serendipitous rituals that unfold at our fingertips while navigating the web.
The exhibition is presented on arebyte Plugin, a new digital tool that offers an innovative way to experience online exhibitions as a series of automatic window pop-ups that appear at different times throughout the day.
Top: Kira Xonorika, Christine, 2023. Bottom: Vica Pacheco, Alambique, 2021. Screenshots of Minimal Rituals (2023).
Online group exhibition, live from 16 Nov 2023
For Data You Are, And To Data You Shall Return // 为数据所生, 亦归数据而去
Alice Yuan Zhang Iris QU Xiaoyu Rebecca Allen Ruini Shi April Lin 林森 XU Haomin crosslucid
Presented in partnership with Chronus Art Center, For Data You Are, And To Data You Shall Return // 为数据所生 , 亦归数据而去 is an online exhibition that challenges the traditional boundaries of the online and offline world through generative, video, and gamified works, showing their interconnectedness through the mediation of the screen.
Visitors contribute their data as they interact with the exhibition, leaving a digital footprint that influences their experience and leaves traces for others. This circular relationship between life and technology encompasses both the physical and spiritual dimensions, albeit with a unique twist - the exhibition itself is decaying.
Top: Crosslucid, Dwellers Between the Waters, 2023. Bottom: Alice Yuan Zhang, Reconnecting…, 2023.
Symposium, 9 Mar 2024
Areas Of Effect: Planar Systems, Critical Roles, and Gaming Imaginaries
Jamie Sutcliffe David Blandy Simon O’ Sullivan Holly White Zedeck Siew Timothy Linward Kayla Dice
Dylan Hall Hasti Mohammadi Laine Powell Xena Pointer Jeremiah Tabudlong Katie Vong Alex Vuong
Curated by artist David Blandy and writer Jamie Sutcliffe in association with Strange Attractor Press, Areas Of Effect: Planar Systems, Critical Roles, and Gaming Imaginaries is a one-day symposium on Tabletop Role Playing Games (TTRPGs) with live game sessions.
Questioning the complex nature of humanity in the realm of technological progress, the event brings together artists, game designers, theorists, and philosophers to discuss these wildly expansive forms of play in which players utilise both their imaginations and chance mechanics (such as dice rolls) to determine the actions of fictional characters and the scenarios surrounding them.
Areas Of Effect, 2024. arebyte Gallery, London. Images: Ellinor Paik.
Artist development programme, Dec 2023 – Mar 2024 ‘
Hotel Generation
arebyte’s yearly artist development programme hotel y e : generation mentors the next generation of UK digital > ‘ e artists during the critical early stages of establishing a ay career in the arts. It equips young artists with the ability d to manage sustainable careers and expose them to new . ~~ 4 audiences in London, with the aim to expand their
Shae Myles (Glasgow) Ryan Heath (Nottingham) Maria Than (London) - winner Kinnari Saraiya (Gateshead) Issy Robertson (Surrey) 7 David Matunda (South West)
Solo exhibition of the winner of Hotel Generation, Mar – May 2024 cd ¥ - di Homage To Quan Âm ne, ih. < / = Maria Than . “> 4 Homage To Quan Âm, a solo show by London based artist Maria Than, delves = i" a ” Hu > ee aé deep into the intricate layers of personal identity, cultural assimilation, and the S.. evolution of self-discovery. Drawing inspiration from Than’s upbringing in a Vietnamese-British-French Buddhist family, the exhibition is titled after Quan te . tage , * Âm, the Vietnamese name for the Bodhisattva (Buddhist deity) associated with ‘ — a. Compassion, Mercy and Medicine.
network and foster new opportunities.
2023 panel of judges Jamie Sutcliffe
(writer, curator and publisher, Strange Attractor Press, London) Gabrielle Jenks (Manchester International Festival) Seema Mattu (artist, London) Nora O Murchu
(transmediale, Berlin) Magdalena Sawon (Postmasters Gallery, NYC)
Six 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. This year, arebyte partnered with the following organisations to mentor the young artists: NEoN Digital Arts, FACT and QUAD.
The programme culminates in a solo show at arebyte Gallery for the winning artist selected by a panel of judges, with Maria Than chosen as this year's recipient.
~~as~~ Maria Than, Homage To Quan Âm, 2024. Installation view, arebyte Gallery, London. Image: Max Colson. =3 ~~a~~
University residency, Jun 2023 – Mar 2024
Algorithmic Unconscious
UCL students: Daisy Lang Ellena-Maria Kappos Imogen Adeoye Cara McDerment Eric Wei
Stephanie Lin Allison Zhong James Thom Maria Mujib Aaron Wang Hany Radwan-Radulescu
Each year, arebyte partners with a University’s new media course and invites their students to look into new forms of making, curating, displaying and archiving digital art. Algorithmic Unconscious is a group exhibition by UCL BA Media students responding to arebyte’s current artistic focus on The Body, the Mind, the Soul, an exploration of the complex nature of humanity in the realm of technological progress. Students present new media projects that examine the impact of digital transformation on the mind, focusing particularly on unconscious processes such as emotions, addiction, and dreaming.
Installation view of Algorithmic Unconscious (2024), arebyte Gallery, London. Images: Ellinor Paik.
Creative software workshops, May 2023 – Feb 2024
Digital Training Sessions
Digital Training Session
Towards More Environmentally and Socially Responsible Digital Practices
In this masterclass with climate change specialist Angela YT Chan, participants learn about the historical roots of the climate crisis and its connections to colonial exploitation, while exploring the importance of climate justice in addressing these issues. They gain tools for applying climate literacy to digital projects, covering concepts such as carbon footprint, sustainability, and the environmental impact of digital practices. The session emphasizes the need for socially and environmentally responsible digital practices, focusing on the long-term infrastructures, resources, and support needed to build a sustainable future in the digital sector.
Angela YT Chan
Our Digital Training Sessions provide practical techniques for digital making through workshops led by artists. From introductory to more advanced sessions on sustainable creative practices, AI image prompting, coding, 3D modelling, as well as game engines and virtual world-making, the creative courses provide hands-on tools that participants can apply in their creative development, for all educational levels.
Angela YT Chan, Storytelling Interconnectedness, 2022-24.
Digital Training Session
Digital Training Session
Lives Of Your Smartphones
Shinji Toya
In this workshop led by artists Shinji Toya and Tanya Boyarkina, participants produce decaying versions of their smartphone handsets as png images to be uploaded online. Through contextualising the materiality of smartphones and their ecological implications, participants are encouraged to consider how the operation of the current mainstream technological development is harming the environment.
Design & Deliver
Sirlute
This youth workshop series, led by creative youth charity Sirlute alongside illustrator Kieron Boothe and photographer Ese, focuses on entrepreneurship in the fashion and design industry. Participants design their own t-shirts, set up e-commerce stores, and learn key skills in branding, marketing, and sales. Through hands-on experience in graphic design, business startup, product photography, and social media marketing, they develop a strong foundation for turning their creative work into a marketable brand.
Kieron Boothe Ese
Shinji Toya, a screenshot of Lives of Your Smartphones Version 1.0 [...], 2022.
Design & Deliver workshop, 2023. Image: Ellinor Paik.
Digital Training Session
AI: Prompting Images of Digital Life
James Irwin
In this workshop, artist James Irwin teaches participants about the concept of "prompting" in AI image generation, where text-based inputs are used to instruct AI systems like DALL-E and Midjourney to create images. They explore q how prompts influence image style, composition, and genre, often resulting in images with artificial traits. Participants experiment with creative prompts to identify flaws in these systems and consider whether AI image generation could revolutionize digital image-making.
Digital Training Session Unreal Engine Workshops
James B Stringer This beginner and intermediate workshop series, led by artist James B Stringer, i explores the use of video game development platform Unreal Engine in a fine art practice, demystifying the engine and introducing participants to many of its features and use cases. Beginners familiarise themselves with how to use the program’s features and bring 3D scans into the engine. Intermediates look at more advanced game coding, working towards building and publishing their own project in Unreal Engine.
James Irwin, GLTF_Blob_11, 2022.
James B Stringer, Untitled, 2022.
Game Design course and showcase, Nov 2023 – Mar 2024
XYZ
CyberZero by: Hashim Amin Zain Almadani Kristine Binas Mohammod Galib Chowdhury Dipa Ghosh Jeremiah Tabudlong Katie Vong Alex Vuong
Future Future by: Ashton Bura Dylan Hall Hasti Mohammadi Xena Pointer Laine Powell Alex Vuong
XYZ is arebyte’s yearly initiative for nurturing young talents’ creative digital skills. Each year, arebyte invites an artist to run a creative course around artistic games and world-building for ELAM’s game design students, with the aim to open paths into employment within the art, games & real time industries.
The students were guided through a programme on game development led by artist David Blandy, in addition to sessions conducted by arebyte's team covering artistic direction, curation, and exhibition design, providing a comprehensive view of the creative process for displaying game works in an art gallery. The module concluded with a segment on game marketing and publishing, featuring presenter and broadcaster Shay Thompson, and Chucklefish Product Lead Alexis Trust, before culminating in a showcase of the two game works at arebyte Gallery.
Top: Future Future, 2024. Bottom: CyberZero, 2024. Images: Ellinor Paik.
Affordable Creative Workspace
arebyte is committed to further support London’s creatives by providing affordable workspaces in the capital city, through its arebyte Studios initiative.
In partnership with private landlords and Councils, arebyte sets up flexible workspaces as part of a cultural placemaking strategy, to preserve the affordability of rent for artists, creative start-ups and micro SMEs.
In February 2023, we closed our Camberwell studio site, located in an industrial estate awaiting redevelopment, marking the end of a seven-year chapter.
Our other site in Southwark, located in Peckham, remains operational, continuing to provide essential affordable workspace for artists in South London.
Together with our workspaces at London City Island in partnership with Ballymore, and our meanwhile office building in Bethnal Green in partnership with Tower Hamlets Council,, arebyte supports a vibrant creative workforce and art community of 250 artists, makers and entrepreneurs over 65,000 sq feet of affordable workspace in East and South London.
Images: Niki Tse.
Impact
-
10,017 onsite visitors Sn
-
277,357 online views with 41% in the UK and 59% from over 100 countries around the world, with USA, India and China as top 3 countries.
-
2 solo commissions, 5 group shows, 2 live performances and 1 symposiums involving all together the participation of 71 talented artists.
-
53 mentorship sessions and 25 workshops to support the * a. development of 132 digital practitioners in education and early stages of their career.
Maria Than, Homage To Quan Âm, 2024. Installation view, arebyte Gallery, London. Image: Ellinor Paik.
- 46 digital experts participating in talks, exhibition reviews, judging panels, and contributing to our exhibition booklets.
Press Highlights “[Leading digital] artists said the industry needed / \ yen organisations like the Serpentine and arebyte galleries in London, which has supported emerging artists who work with immersive technology.” by David Batty in The Guardian (2022)
“The whole thing is kind of like the set of a BDSM episode of Red Dwarf, and it’s visually super impressive.”
Time Out (2023)
“...the works in the exhibition serve as a visual exploration . _—~ Vi of the complex journey away from refusal and towards acceptance and understanding of one’s own identity.” Homage To Quan Âm by Hollie Hilton in Woo by ITV (2024)
“Homage To Quan Âm suggests an assimilation with other narratives through the lens of Buddhist philosophy, fostering personal connections that transcend cultural a AS.” Uf divides and resonate on a deeply human level.”
Homage To Quan Âm featured in ART PLUGGED (2024)
Zach Blas, CULTUS, 2023. Installation view, arebyte Gallery, London. Image: Max Colson.
R°eport of the Trustees
Report of the Trustees
The trustees present their annual report together with the charity’s statement of accounts for the financial year that ended 31 March 2024. The financial statements comply with the Charity Act (2011), arebyte’s CIO constitution (‘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).
I. Objective 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.
Initiated in 2013, arebyte has established itself as an influential voice in the digital art landscape. From exhibitions, online experiences, live performances to educational initiatives, our programmes explore the creative application of new technologies spanning virtual reality (VR), augmented reality (AR), motion capture, computer-generated imagery (CGI), artificial intelligence (AI), and blockchain technology.
Meeting the growing demand for immersive experiences and digital content creation, arebyte pioneers new forms of engagement with creative technologies, to
critically explore the impact of technology in contemporary society.
arebyte is committed to further support London’s creatives by providing affordable workspaces in the capital city. In partnership with private landlords and Councils, arebyte strives to preserve a vibrant community of 300 artists, makers and designers in East and South London.
Over 10 years, we’ve nurtured over 1,050 artists and curators through our programme, produced 28 major commissions, and supported over 650 creatives benefitting from our affordable studios.
We have collaborated with the Serpentine, Tate Modern, Goldsmiths University, UCL East, Royal College of Art, Central Saint Martins, Ars Electronica and Rhizome, and toured work as far as Berlin, Ljubljana, The Hague, Paris, New York, Vienna, Shanghai, Seoul, and Copenhagen.
Our core values
As an experimental institution dedicated to digital culture, we uphold to the following values
Innovating Creative Tech: Exploring Boundaries with a Critical Approach
By fostering a culture of experimental research and development, our work pushes the boundaries of art and technology, opening up new forms of curation, production and experiences. We critically examine the role of technology in our modern society through thought-provoking art projects that merge the realms of technology, humanities and science, to provide critical insights into the implications and potential ramifications of technology on all aspects of our lives.
Cultivating Diverse Perspectives in Cultural Programming and Tech Initiatives
We are an inclusive organisation with a diverse workforce that values a range of perspectives and lived experiences, seamlessly integrating them into our cultural programming and tech initiatives. Our mission
is to cater to the needs of audiences from various backgrounds and identities, representing the vibrant diversity of contemporary Britain and of our global audience. Acknowledging the existing lack of diversity in the worlds of technology and art, we actively work to bridge this gap in everything we do.
Fostering Radical Collaboration and Open Knowledge Sharing
We create an environment where diverse areas of expertise converge, fostering connections and igniting innovation for long-term growth and community engagement. Through strong connections with peers
Environmental Sustainability in the Digital Art Space
We research and develop practices surrounding sustainable forms of digital art making and curation, with the aim of reducing the environmental impact both
IRL and online. We aim to emerge as leaders in the realm of digital sustainability, inspiring sector behaviour change and sharing best practice with our peers.
Talent Development
Our education initiatives pioneer innovative ways to engage with creative technologies, meeting the demand for digital content creation. Through workshops and activities for participants of all ages and skill levels, we empower everyone to actively shape and explore our creative landscape.
We nurture the next generation of digital practitioners, providing affordable workspaces, business support, and curatorial mentorship to artists, students and micro SMEs, equipping them with the tools to flourish at every stage of their career.
Our long-term ambition:
London’s first Digital Art Centre, where tomorrow’s culture will be made, experienced and discussed.
-
Digital art: Immersive and interactive gallery spaces for world class new media and technology-based art exhibitions and live performances
-
Business incubation: Affordable workspaces to support new digital businesses, and a like-minded community for artists and createch entrepreneurs
-
Skills development :Educational room for creative digital skills, to build a talent pipeline and career pathways for the young people of Newham and Tower hamlets
-
Digital production: Production facilities supporting the development of the uk’s world leading screen industries and powering the next generation of XR content and experiences.
II. Governance &
Management
Recruitment and appointment of trustees
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 and in between meetings, as detailed in arebyte Delegation scheme document.
Risk Management
The major risks to arebyte’s activities and reputation are identified by the Trustees and logged in the risk register under the categories Finance & Enterprise, Governance, Programme, People, Project, Environment. The risk register is reviewed at each Trustees meetings, with additional reviews conducted as necessary for urgent actions.
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.
III. Achievements and
Performances
Programme of activities
Our yearly initiatives provide crucial opportunities for creative professionals who operate within the realm of digital cultures. We extended invitations to artists,
curators, programmers, researchers and writers to make valuable contributions which responded to our triennal theme The Body, The Mind, The Soul. These fruitful
collaborations resulted in a rich array of online and onsite outputs including 2 solo commissions, 5 group shows and a day-long symposium, involving all together the participation of 71 talented artists.
Our educational programme in partnership with art and educational institutions aims at sharing knowledge on creative media technologies and nurturing young artists through creative development programme.
In collaboration with ELAM college, youth Charity Sirlute, BA Media UCL East, FACT, QUAD, Neon, we have successfully delivered 25 workshops for digital making and provided 53 curatorial mentorship sessions to support the development of 132 digital practitioners in education and early stages of their career.
We invited another 46 digital experts to take part in panel conversations, conduct exhibition reviews and take part in judging panels, and write essays for our exhibition booklets,
Attendance and Public Reception of our Programme
arebyte continues to engage a diverse audience, both children and adults, with a strong interest in digital cultures. Over the past 12 months, our programme attracted 10,017 onsite visitors, reflecting a slight increase when compared on a month-to-month basis with the previous period (10,350 visitors across 18 months in 2022/23). Our online presence also saw significant growth, with 272,357 viewers over 12
months, compared to 350,103 during the 18-month span of the prior report. This steady increase in both physical and digital engagement highlights the growing impact and reach of our programme.
Of this, 41% were from the UK (2022/23: 35%), and 59% from 147 countries worldwide (2022/23: 65%), with USA, India and China as top 3 countries. This reflects the growing engagement within the UK through our development programme delivered in partnership with peer organisations located in the different regions of the UK.
Creative Workspace provision
In February 2023, we closed our Camberwell studio site, located in an industrial estate awaiting redevelopment, marking the end of a seven-year chapter.
Our other site in Southwark, located in Peckham, remains operational, continuing to provide essential affordable workspace for artists in South London.
Together with our workspaces at London City Island in partnership with Ballymore, and our meanwhile office building in Bethnal Green in partnership with Tower Hamlets Council,, arebyte support a vibrant creative workforce and art community of 250 artists, makers and entrepreneurs over 65,000 sq feet of affordable workspace in East and South London.
IV. Financial Review
This financial year covers the period from April 1, 2023, to March 31, 2024. As the previous report covered a 15-month period, from January 2022 to March 31, 2023, comparisons should consider the difference in reporting periods.
Performance
This year total income was £938,535, compared to £775,013 in 22/23. Income from charitable activities increased to £842,499 (22/23: £667,662), driven by (i) higher grants of £143,586 (22/23: £56,351) - largely due to the organisation's successful inclusion in Arts Council England’s National Portfolio funding scheme, and (ii) increased rental income of £685,822 (2022/2023: £603,886), due to the full-year operation of the Bethnal Green studio site.
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 2023/2024 arebyte’s support costs increased slightly to £59,925 (2022/23: £52,693).
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 this financial year, the reserve level amounts to £290,050 (2022/23: £205,087) and therefore within the threshold of the policy (£150,000 to £300,000).
In line with strategic priorities, arebyte is building reserves to support the development of the Digital Art Centre project, explaining the higher reserve levels. These reserves allow us to advance long-term goals while maintaining financial resilience.
V. Reference & administrative details
Charity name: arebyte CIO Charity type: Charitable incorporated organisation
Charity number: 1167185
Registration date: 18 May 2016
Principal office: 7 Botanic Square, London E14 0LG
Trustees: Jonatan Jona Guy Armitage Sumit Paul Choudhury Rosh Singh Shay Thompson Eva Pascoe James Viggers
Financial year end: 31 March
Independent: Morris Crocker Station House, 50 North examiner 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
VI. Statement of Trustees’ responsibilities
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).
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.
Approved by order of the board of trustees on the 4th of November 2024 and signed on its behalf by:
Guy Armitage - Chair November 2024
VII. Independent examiner’s Report to Trustee
I report to the charity trustees on my examination of the accounts of arebyte (the Trust) for the year ended 31 March 2024.
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').
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.
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 ICAEW which is one of the listed bodies.
I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:
- 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.
S F Mackie, FCA Morris Crocker Chartered Accountants Station House, North Street Havant Hampshire PO9 1QU 26 November 2024
AREBYTE
AREBYTE
STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31 MARCH 2024
| Period | |||||
|---|---|---|---|---|---|
| 1.1.22 | |||||
| Year ended | to | ||||
| 31.3.24 | 31.3.23 | ||||
| Unrestricted | Restricted | Total | Total | ||
| fund | funds | funds | funds | ||
| Notes | £ | £ | £ | £ | |
| INCOME AND ENDOWMENTS FROM | |||||
| Donations and legacies | 2 | 96,036 | - | 96,036 | 107,351 |
| Charitable activities | 3 | ||||
| Programme and Studios | 698,913 | 143,586 | 842,499 | 667,662 | |
| Total | 794,949 | 143,586 | 938,535 | 775,013 | |
| EXPENDITURE ON | |||||
| Charitable activities | 4 | ||||
| Programme and Studios | 719,986 | 133,586 | 853,572 | 754,960 | |
| NET INCOME | 74,963 | 10,000 | 84,963 | 20,053 | |
| RECONCILIATION OF FUNDS | |||||
| Total funds brought forward | 205,087 | - | 205,087 | 185,034 | |
| TOTAL FUNDS CARRIED FORWARD | 280,050 | 10,000 | 290,050 | 205,087 |
BALANCE SHEET 31 MARCH 2024
| 2024 | 2023 | ||
|---|---|---|---|
| Notes | £ | £ | |
| FIXED ASSETS | |||
| Tangible assets | 9 | 11,098 | 22,282 |
| CURRENT ASSETS | |||
| Debtors | 10 | 49,628 | 75,147 |
| Cash at bank | 391,339 | 244,921 | |
| 440,967 | 320,068 | ||
| CREDITORS | |||
| Amounts falling due within one year | 11 | (162,015) | (137,263) |
| NET CURRENT ASSETS | 278,952 | 182,805 | |
| TOTAL ASSETS LESS CURRENT | |||
| LIABILITIES | 290,050 | 205,087 | |
| NET ASSETS | 290,050 | 205,087 | |
| FUNDS | 13 | ||
| Unrestricted funds | 280,050 | 205,087 | |
| Restricted funds | 10,000 | - | |
| TOTAL FUNDS | 290,050 | 205,087 |
The financial statements were approved by the Board of Trustees and authorised for issue on ............................................. and were signed on its behalf by: 4th November 2024
............................................. J Jona - Trustee
The notes form part of these financial statements
The notes form part of these financial statements
AREBYTE
AREBYTE
CASH FLOW STATEMENT FOR THE YEAR ENDED 31 MARCH 2024
| Y Notes Cash flows from operating activities Cash generated from operations 15 Net cash provided by operating activities Cash flows from investing activities Purchase of tangible fixed assets Net cash used in investing activities Change in cash and cash equivalents in the reporting period Cash and cash equivalents at the beginning of the reporting period Cash and cash equivalents at the end of the reporting period |
ear ended 31.3.24 £ 162,824 162,824 (16,406) (16,406) 146,418 244,921 391,339 |
Period 1.1.22 to 31.3.23 £ 71,629 71,629 (44,187) (44,187) 27,442 217,479 244,921 |
|---|---|---|
NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024
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.
The trustees consider that there are no material uncertainties regarding the charity's ability to continue as a going concern.
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
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.
The notes form part of these financial statements
continued...
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
2. DONATIONS AND LEGACIES
| Y Donations |
Period 1.1.22 ear ended to 31.3.24 31.3.23 £ £ 96,036 107,351 |
|---|---|
Donations in kind totalling £95,040 were received for discounts on equipment hire and advertisement. Other small donations were received totalling £996 (2023: £295). In 2023 donations in kind totalling £107,056 were received for advertising, staff training and artist support.
3. INCOME FROM CHARITABLE ACTIVITIES
| INCOME FROM CHARITABLE ACTIVITIES | ||
|---|---|---|
| Y Activity Grants Programme and Studios Curatorial income Programme and Studios Ticket sales Programme and Studios Co-commission fee Programme and Studios Studio rental income Programme and Studios Venue hire income Programme and Studios |
ear ended 31.3.24 £ 143,586 1,250 2,541 4,300 685,822 5,000 842,499 |
Period 1.1.22 to 31.3.23 £ 56,351 1,421 1,899 400 603,886 3,705 |
| 667,662 |
Grants received, included in the above, are as follows:
| Y ACE Arts Council England - National Lottery Project Grant Greater London Authority - Royal Docks Internship Programme A New Direction British Council Polska Social Sciences and Humanities Research Council Leamouth Limited Partnership UCL East ACE Arts Council England - National Portfolio Organisation (NPO) |
ear ended 31.3.24 £ - 2,586 - 12,500 13,000 200 2,000 113,300 143,586 |
Period 1.1.22 to 31.3.23 £ 43,508 10,343 2,500 - - - - - |
|---|---|---|
| 56,351 |
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
4. CHARITABLE ACTIVITIES COSTS
| Programme and Studios SUPPORT COSTS Management £ Programme and Studios 57,236 |
Support Direct costs (see Costs note 5) Totals £ £ £ 793,646 59,926 853,572 Governance Finance costs Totals £ £ £ 169 2,521 59,926 |
|
|---|---|---|
5. SUPPORT COSTS
Support costs, included in the above, are as follows:
Management
| Year ended 31.3.24 Programme and Studios £ Wages 44,186 Postage and stationery 5,100 Staff training 608 Travel & hospitality 7,342 57,236 Finance Year ended 31.3.24 Programme and Studios £ Bank charges 169 Governance costs Year ended 31.3.24 Programme and Studios £ Accountancy and consultancy 1,756 Independent examiners fee 765 2,521 |
Period 1.1.22 to 31.3.23 Total activities £ 38,221 1,218 783 9,830 50,052 Period 1.1.22 to 31.3.23 Total activities £ 150 Period 1.1.22 to 31.3.23 Total activities £ 1,741 750 2,491 |
|---|---|
Finance
Governance costs
continued...
continued...
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
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 2023/24, no trustee was compensated for their services during the financial year, which means in reference to clause 6.(3)(g) that all of the charity trustees then in office were not in receipt of remuneration or payments authorised by clause 6.
Trustees' expenses
There were no trustee's travel expenses paid for the year ended 31 March 2024 (2023: nil).
7. STAFF COSTS
| Y Wages and salaries |
ear ended 31.3.24 £ 121,748 121,748 |
Period 1.1.22 to 31.3.23 £ 103,522 |
|---|---|---|
| 103,522 |
Key management remuneration
During the year, key management personnel comprised of the Managing Director who earned remuneration of £58,915 (2023: £50,962).
The average monthly number of employees during the year was as follows:
| Period | ||
|---|---|---|
| 1.1.22 | ||
| Year ended | to | |
| 31.3.24 | 31.3.23 | |
| Administration | 1 | 1 |
| Charitable activities | 3 | 3 |
| 4 | 4 |
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
8. COMPARATIVES FOR THE STATEMENT OF FINANCIAL ACTIVITIES - 2022/23 - continued
NET INCOME RECONCILIATION OF FUNDS Total funds brought forward TOTAL FUNDS CARRIED FORWARD TANGIBLE FIXED ASSETS Plant and machinery £ COST At 1 April 2023 14,676 Additions 16,406 At 31 March 2024 31,082 DEPRECIATION At 1 April 2023 14,526 Charge for year 5,468 At 31 March 2024 19,994 NET BOOK VALUE At 31 March 2024 11,088 At 31 March 2023 150 |
Unrestricted fund £ 20,053 185,034 205,087 Fixtures and fittings £ 47,276 - 47,276 25,199 22,077 47,276 - 22,077 |
Restricted funds £ - - - Library books £ 931 - 931 876 45 921 10 55 |
Total funds £ 20,053 185,034 205,087 Totals £ 62,883 16,406 79,289 40,601 27,590 68,191 11,098 22,282 |
|---|---|---|---|
9. TANGIBLE FIXED ASSETS
10. DEBTORS: AMOUNTS FALLING DUE WITHIN ONE YEAR
No employees received emoluments in excess of £60,000.
8. COMPARATIVES FOR THE STATEMENT OF FINANCIAL ACTIVITIES - 2022/23
| Trade debtors | 2024 2023 £ £ 49,628 75,147 |
|---|---|
INCOME AND ENDOWMENTS FROM Donations and legacies Charitable activities Programme and Studios Total EXPENDITURE ON Charitable activities Programme and Studios |
Unrestricted fund £ 107,351 609,819 717,170 697,117 |
Restricted funds £ - 57,843 57,843 57,843 |
Total funds £ 107,351 667,662 |
|---|---|---|---|
| 775,013 | |||
| 754,960 |
AREBYTE
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
11. CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR
| Trade creditors Studio holders deposits Accruals and deferred income Brought forward Amount released to incoming resources Amount deferred in year Carried forward |
2024 £ 22,499 93,220 46,296 162,015 2024 £ 16,696 (16,696) 44,460 44,460 |
2023 £ 865 117,950 18,448 |
|---|---|---|
| 137,263 | ||
| 2023 £ - - 16,696 16,696 |
Deferred income represents studio rents received in advance.
12. ANALYSIS OF NET ASSETS BETWEEN FUNDS
Fixed assets Current assets Current liabilities |
Unrestricted fund £ 11,098 430,967 (162,015) 280,050 |
Restricted funds £ - 10,000 - 10,000 |
2024 Total funds £ 11,098 440,967 (162,015) 290,050 |
2023 Total funds £ 22,282 320,068 (137,263) |
|---|---|---|---|---|
| 205,087 |
13. MOVEMENT IN FUNDS
| MOVEMENT IN FUNDS | |||
|---|---|---|---|
| Unrestricted funds General fund Restricted funds British Council TOTAL FUNDS |
At 1.4.23 £ 205,087 - 205,087 |
Net movement in funds £ 74,963 10,000 84,963 |
At 31.3.24 £ 280,050 10,000 |
| 290,050 |
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
13. MOVEMENT IN FUNDS - continued
Net movement in funds, included in the above are as follows:
| Unrestricted funds General fund Restricted funds British Council Greater London Authority Social Sciences and Humanities Research Council Leamouth Limited Partnership UCL East ACE Arts Council England - National Portfolio Organisation (NPO) TOTAL FUNDS |
Incoming resources £ 794,949 12,500 2,586 13,000 200 2,000 113,300 143,586 938,535 |
Resources expended £ (719,986) (2,500) (2,586) (13,000) (200) (2,000) (113,300) (133,586) (853,572) |
Movement in funds £ 74,963 10,000 - - - - - 10,000 84,963 |
|---|---|---|---|
Comparatives for movement in funds
| Unrestricted funds General fund TOTAL FUNDS |
At 1.1.22 £ 185,034 185,034 |
Net movement in funds £ 20,053 20,053 |
At 31.3.23 £ 205,087 205,087 |
|---|---|---|---|
Comparative net movement in funds, included in the above are as follows:
| Unrestricted funds General fund Restricted funds ACE Arts Council England - National Lottery Project Grant Royal Docks Internship Programme A New Direction TOTAL FUNDS |
Incoming resources £ 717,170 45,000 10,343 2,500 57,843 775,013 |
Resources expended £ (697,117) (45,000) (10,343) (2,500) (57,843) (754,960) |
Movement in funds £ 20,053 - - - - 20,053 |
|---|---|---|---|
continued...
continued...
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
AREBYTE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE YEAR ENDED 31 MARCH 2024
13. MOVEMENT IN FUNDS - continued
16. ANALYSIS OF CHANGES IN NET FUNDS
ACE Arts Council Arts Council England National Lottery Project grant: public funding four our art programme and educational programme.
Royal Docks' Internship An initiative that gives local young people the opportunity to work with Programme organisations in the Royal Docks and the vicinity. Arebyte participated in the scheme and received 50% subsidy to cover the wage of an intern assisting the team.
| Net cash Cash at bank Total |
At 1.4.23 Cash flow £ £ 244,921 146,418 244,921 146,418 244,921 146,418 |
At 31.3.24 £ 391,339 391,339 391,339 |
|---|---|---|
A New Direction A one-off payment to cover the costs of additional work from our press and marketing managers to cover for an intern, who's wage was supported by this, who has been working at a reduced rate due to sickness.
Relates to 24/25 programme - British Council - UK/Poland Season Of British Council Culture 2025
Royal Docks' Internship Programme: initiative for local young people to work with organisations in the Royal Docks's vicinity. 50% subsidy to cover Greater london the wage of a marketing intern (CAY) for 1 year. authority
Social Sciences and Humanities Research Social Sciences and Humanities Research Council (SSHRC) - Grant Council towards Cultus by Zach Blas.
Leamouth limited Ballymore - Contribution to Maria Than Artist Tour event as part of The partnership Islander Festival ACE Arts Council England - National Portfolio Organisation (NPO) Arts Council England - National Portfolio Organisation (NPO) 2023-2026
UCL East - BA Media - Contribution to University Residency Programme - UCL East Exhibition Production costs
14. RELATED PARTY DISCLOSURES
No trustee was paid for their function as trustee.
15. RECONCILIATION OF NET INCOME TO NET CASH FLOW FROM OPERATING ACTIVITIES
| Y Net income for the reporting period (as per the Statement of Financial Activities) Adjustments for: Depreciation charges Decrease/(increase) in debtors Increase in creditors Net cash provided by operations |
ear ended 31.3.24 £ 84,963 27,590 25,519 24,752 162,824 |
Period 1.1.22 to 31.3.23 £ 20,053 23,112 (39,136) 67,600 71,629 |
|---|---|---|
continued...