nnual Report and Accou 202412025 ## **Contents** |Foreword
Our creative focus:|3|Report of the Trustees and
Financial Statement|Report of the Trustees and
Financial Statement|19| |---|---|---|---|---| |The Body, The Mind, The Soul
Farewell to arebyte|4
6|●
●|Objectives & Activities
Our Core Values|20
21| |●
Fragments of a Panorama
●
Hotel Generation|7
8|●
●|The Camden Chapter
Governance & Management|22
23| |●
Alexandria’s Genesis|9|●|Achievement & Performance|23| |●
What is it Like?|10|●|Financial Review|24| |●
Assemblages of Being
●
The Artist Chain|11
12|●|Reference & administrative
details|25| |●
Digital Training Sessions
●
XYZ|13
15|●|Statement of Trustees’
responsibilities|25| |arebyte Studios
Impact
Press Highlights|16
17
18|●|Independent examiner’s
Report to Trustee|25| ## Foreword ## Our creative focus: The Body, The Mind, The Soul Farewell to arebyte ## **Foreword** **2024/25 marks our final year at London City Island** . The eight years spent there as part of a placemaking partnership with property developer Ballymore have been transformative for arebyte, giving us the stability to refine our identity, strengthen our exhibition programme, build a comprehensive educational offer, including initiatives for young people and develop our integrated model of digital art programming alongside creative workspace provision. Over this time, we expanded across five sites to support a total of 280 studios. These years allowed us to test, learn, and sharpen our focus - doing less, but better - and to evolve from a small, DIY team into a professionalised organisation with defined roles and policies, a period of consolidation that also led to our National Portfolio Organisation status with Arts Council England. Our final year at London City Island was shaped by a number of new developments: - guest-curated exhibitions by Helen Starr and Kinnari Saraiya that expanded our networks and enabled us to explore diverse cultural narratives. - the launch of our first residency programme in partnership with Goldsmiths, a natural progression for an organisation rooted in studios, which we plan to continue. - a new format for our artistic gaming programme, XYZ, shifting from working with game design students to engaging younger participants from age 11 with no prior technical experience. Delivered during school holidays in partnership with local youth charity Sirlute, the 2D game-making approach proved more accessible and impactful, and will be developed further - the closure of our Peckham studio site, resulting in the loss of 50 studios and bringing to an end eight years of presence in Southwark. While challenging, this moment 4 . Seet eee LT a reaffirmed the central importance of affordable workspace to our mission and strengthened our tt > Na *: - commitment to securing a long-term, unified site for our activities. Leaving London City Island marks a significant shift. Our *. move to Camden to open a new Digital Art Centre brings most of our operations together under one roof for the %.a first time, with 100 workspaces located alongside our * exhibition and education spaces. This more central location allows us to scale up our artistic and educational offer, engage wider audiences, and carry forward the institutional yet experimental spirit that defines arebyte into its next chapter. Claudel Goy Managing Director Bee 2 ek , page r) ‘aS ° Our creative focus 2023-2026: Oke: 3 ey Sa es St + = | en Se¥ 34 . rf e* Ay 4 - The Body, The Mind, The Soul cont CeSEsFly eesy eehee en , Std Sineeet aSRe (on rr , Ni, PS enSy he —” Exploring the human condition, reflecting on the nuance of “4 tts ans, eeois =? ‘. ans:oo os ~— See? Pe oe +e, + individual and collective existence within the changing ase toev? 4s oy “a P 2s _ ?. rs —— world that now shapes us. ## **The Body,The Mind, The Soul** Across the year, four solo and group exhibitions explore the programme’s themes through different lenses. Murthovic & Thiruda’s Fragments of a Panorama, curated by Kinnari Saraiya, moves through collective memory and archiving, remixing cultural identity in preand post-colonial India through AI, film, 3D printing, oF and immersive formats. oe Co . Dian Joy’s Alexandria’s Genesis re-surfaces a 1998 fanfiction/copy-paste myth about “perfect” bodies, unpacking internet folklore and the production of the self, while mapping how algorithms reward the viral and SLPS the sensational. Assemblages of Being, by UCL East BA ; ae ; Media students, continues arebyte’s commitment to emerging practice and academic partnerships, | ee presenting seven game-engine works exploring autonomy, memory, and decision-making. **Art Programme 2024/25** 2024/25 continues our artistic programme theme: The Body, The Mind, The Soul - an inquiry into what it means to be human as technological systems reshape how we perceive the world, our identity, and collective life. The programme closes our London City Island chapter after eight years and over 60 exhibitions and events, taking arebyte from an experimental project space to one of the UK’s leading digital art spaces. It also marks the end of my time as Creative Director. I founded arebyte 12 years ago and have led its artistic programme and vision since; I now join the board, making way for new voices. What Is It Like?, curated by Helen Starr and featuring works by Anna Bunting-Branch, Choy Ka Fai, Damara Inglês, Katarzyna Krakowiak, Lawrence Lek, and Kira Xonorika, draws on Thomas Nagel’s 1974 essay What Is It Like to Be a Bat? to examine subjective experience, consciousness, and AI sentience. Using sliding panels that trigger the works, the exhibition turns the gallery into a playable model of mind and machine. Funded by the British Council as part of the UK–Poland Year, What Is It Like? travels to Wrocław, Poland to take part in the WRO Biennale 2025. As part of our educational programme, alongside the Digital Training Sessions and XYZ programmes, we launch our first Digital Art Residency in partnership with Goldsmiths University, supporting Ayesha Sureya, Josha Eiffel, and Zhiyan Cai as they explore anti-colonial practice, class struggle, mythology, and femininity. The programme explores how technology shapes human life - how we see our bodies, how we think and remember, how ideas and stories spread, and how we \ make sense of ourselves and the world around us. This year reaffirms arebyte’s commitment to digital art as a imaginative cultural critique: a space where audiences don’t only view technology’s impact, but move through it, testing how the body, the mind, and the search for meaning continue to evolve. Nimrod Vardi Founder & Creative Director (2013-2025) - ## **Farewell to arebyte** It’s hard to believe it’s been 12 years since arebyte was first launched in Hackney Wick. Now, the time has come for me to step down as Creative Director and make space for new energy, ideas, and perspectives to lead the artistic programme into its next phase. arebyte has always been a forward-thinking, dynamic, and independent organisation, making its own path within London’s artistic landscape. As a child of the ’80s, my fascination with and appreciation of computers has been an integral part of how I see the world, and when the idea came to open a space that brings this love into my artistic and curatorial practice, it made sense. It was natural. When I founded arebyte, digital art was still considered a niche. While many artists had been making pioneering work in this space for decades, and although London has a history of this medium going back to the 1960s, there were only a few spaces giving visibility to digitally born work—galleries and institutions such as Furtherfield and FACT in the UK and Rhizome in the US, to name a few. We were called experimental, and we embraced it. "eee ’ fe ae FHL AS. iss watt x jnte Now, in 2025, the landscape has changed significantly. ¢ ee + Py fobi So many people have been part of arebyte’s story: -. VAs *yehnin ; Sax“2. a heets ell,vere FaDataedogtain ar Mela Digital art is no longer on the fringes—it is being trustees, team, friends and family, curators, producers, ee FI -f ‘cm Nee Tee - ) worl ’ pare. ‘ x discussed, recognised, and exhibited across the fr * aJ b= l* 7 technicians, designers, programmers, workshop leaders, - aWD Brgsiitrtfs!); Olas| eXicetee +Teeet peteweet Moh **a** t Te tar J ft ) spectrum of the art world. Major institutions are dedicating entire exhibitions to the field, while smaller ; ., . 7 ~~ 9 studio managers, tenants, partners, and, of course, the audiences—above all, the artists who entrusted us with BcAn, TesSa <=Pe Te,BoAL at 34/ ros aTsJue galleries and project spaces continue to promote its - & 4 their work and ideas. I’m deeply grateful to everyone who Nn oe , tt eS: SS. — “4 evolution. Digital practices are now taught in schools, has contributed to what arebyte has become. Thank you! academies, and universities; auction houses, commercial galleries, and art fairs actively sell digital arebyte is in the brilliant hands of our Managing Director, works, and immersive installations are being Claudel Goy, who has been shaping its path over the past experienced by millions of audiences worldwide. The eight years, guiding it with clarity, vision, and arena continues to expand, encompassing a broad dedication—from a small project space to a National > J range of forms and experiences, from immersive Portfolio Organisation. I know arebyte’s future is in great ~*~ : vent installations and NFTs to artistic video games and hands with her leading the way. interactive artworks, and is steadily gaining mainstream +> a *. = recognition. *. = I will remain close to arebyte. I will join our wonderful board of trustees and continue to champion the gallery’s mission—to experiment, be curious, and continue to push the boundaries of art. I truly believe arebyte played a meaningful role in that shift. Though small in scale, we had the ambition to push forward. We’ve built an international reputation for commissioning and presenting cutting-edge, critical, and ambitious work. We’ve collaborated with pioneering artists, pushed boundaries, and curated exhibitions that took risks and asked crucial questions. With deep gratitude, appreciation, and a sense of awe. We are byte! Nimrod Vardi Founder & Creative Director (2013-2025) ## Exhibition, 11 Jul - 13 Oct 2024 Fragments of a Panorama Curated by Kinnari Saraiya Murthovic and Thiruda Since 2016, Murthovic and Thiruda have taken on the role of archivists for their ongoing project, Elsewhere in India, remixing and fragmenting millennia of South Asian cultural traditions, sonic and visual heritage, and classical dances of India. Fragments of a Panorama explores cultural heritage, digital technology, and speculative futures through film, interactive experiences, video games, and sculpture, as a commissioned chapter within this broader exploration. The topology of Fragments of a Panorama is built on layers of destruction, construction, and reparation, connecting us to generations past and future. Through the malleability of space-time in virtual AI-rendered worlds, the exhibition introduces immersive experiences across various states and technological landscapes, transporting us to Elsewhere in India. Murthovic & Thiruda, Fragments of a Panorama, 2024. Images: Devika Bilimoria. ## Artist development programme Apr 2024 **Hotel Generation** ## Participants GWENBA (Cardiff) Dian Joy (London) - winner Tyler Mellins (Sheffield) Daira Ronzoni (Dundee) Rebecca Saw (Derby) Yudi Wu (Exeter) Mentoring Partners New Media Scotland, Edinburgh Mediale, York G39, Cardiff Knowle Media Centre, Bristol ## Panel of Judges Sarah Cook (Professor, University of Glasgow) Zhang Ga (Chronus Art Center, Shanghai) Nora N. Khan(Biennale de l’Image en Mouvement) Alain Servais (Art collector, The Servais Family Collection) Winnie Soon (Associate Professor,UCL Slade School of Fine Art) arebyte’s 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. 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: New Media Scotland, Mediale, G39 and Knowle West Media Centre. The programme culminates in a solo show at arebyte Gallery for the winning artist selected by a panel of judges, with Dian Joy chosen as this year's recipient. Tyler Mellins, 'Receiver' (2022). Installation view 'Dark Echoes', Site Gallery, Sheffield. Image: Jules Lister Hotel Generation Winning Exhibition Nov 2024 – Jan 2025 ## Alexandria’s Genesis Dian Joy Alexandria’s Genesis, a solo exhibition by British-Nigerian artist Dian Joy, examines how digital folklore shapes self-perception and social ideologies, with a particular focus on the role of the gaze in perpetuating myths about the body. Stemming from a widely circulated fanfiction entitled Purple Eyes and Other Interesting Anomalies, written in 1998 by Cameron Aubernon, the exhibition delves into the internet myth of Alexandria’s Genesis. This viral lore describes an idealised genetic condition, marked by pale skin, purple eyes, extended lifespan, immunity to disease, and freedom from bodily waste as well as unwanted hair growth. Dian Joy, Alexandria’s Genesis, 2024. Images: Devika Bilimoria Group Exhibition Feb-Apr 2024 ## What is it Like? Curated by Helen Starr Anna Bunting-Branch Choy Ka Fai Damara Inglês Katarzyna Krakowiak Lawrence Lek Kira Xonorika What Is It Like? is a group exhibition that explores the nature of subjective reality, inspired by Thomas Nagel’s seminal 1974 paper, What Is It Like to Be a Bat?. Curated by Helen Starr, the exhibition reflects her practice of investigating the brain as a machine that constructs tailored realities. The exhibition delves into language, memory, and the boundaries of consciousness, shedding light on why AI models currently remain incapable of true sentience, emotion, or self-awareness. Through artworks employing soundscapes, VR, game engines, and the metaverse, it invites viewers to navigate the layered complexities of perception, experience, and consciousness—mirroring with its interactive stage-crafting how AI technologies generate immersive yet illusory realities. Featuring artworks by Anna Bunting-Branch, Choy Ka Fai, Damara Inglês, Katarzyna Krakowiak, Lawrence Lek and Kira Xonorika, the exhibition celebrates how artists use AI tools and techniques to craft cultural meaning, bridging creativity, innovation and humanity into our rapidly evolving technological landscape. What Is It Like? , 2024. arebyte Gallery, London. Images: Devika Bilimoria. University residency, Jun 2024 – Feb 2025 ## Assemblages of Being UCL BA Media students: Imogen Adeoye, Joe Cunningham, Ranya Dizayee, Lidia Tirado Gomez, Ali Jamil, Daisy Lang, Stephanie Lin, Haoen Li, Peter Popov, Hany Radwan-Radulescu, Rundong Sang, Uliana Sadovskaya, Nikoletta Varga, Chuhan Wang, Aaron Wang, Ruoyu Wang,, Yang Wang, Yibing Wang, Shutong Xu, Dan Xue, Eric Wei Assemblages of Being is a group exhibition by UCL BA Media students responding to arebyte’s focus on The Body, the Mind, and the Soul which explores the complexity of existence both individual and collective, within a world reshaped by technological transformation. Developed with support from arebyte and UCL tutors, the students present interactive game-engine projects examining the impact of merging human consciousness with digital realms, raising questions about autonomy, collective intelligence, and the influence of technology on human perception and decision-making. _Self-curated artist-led programme, Apr 2024 – Mar 2025_ ## The Artist Chain Ru Kim Lucas Horta Matthieu La-Brossard Jake Starr Alexandra Sheherazade Salem Kalanjay Dhir Xheneta Imeri Tiyan Baker Fatemeh Afimoh Kazemi Kent Chan Zelikha Zohra Shoja Nina Djeki Henry Lai-Pyne Aram Lee 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. Top: Kalanjay Dhir - Immersion: Parra River Patch, 2024 | Bottom: Lucas Horta - Pinocchio, 2024 Digital Training Session, March 2025 ## Introduction to Arduino Digital Training Session - Creative workshops ## Digital Training Sessions Robert Hall In this two-part workshop series introduces participants to integrating Arduinos into creative practices, from interactive artworks, smart installations, to custom controllers. Suitable for both beginners and those with prior experience, the hands-on programme enable attendees to design interactive systems. Full participation to the workshops develops skill in building both basic and wireless-enhanced projects, unlocking new dimensions for artistic expression. Practical techniques for digital making. From introductory to more advanced sessions, the creative courses led by artists provide hands-on tools for all educational levels. Digital Training Session, May 2024 & Sep 2024 ## AI Image Generation Workshops James Irwin In this four-part workshop series, artist James Irwin teaches participants about the concept of "prompting" in AI image generation, where text-based inputs are used to instruct AI systems to create images. They explore 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, Nov 2024 ## Unreal Engine Workshops James B Stringer This beginner and intermediate workshop series (with two sessions in each), led by artist James B Stringer, 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. Game Design Workshops, Summer 2024 ## XYZ with Sirlute 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 2024–25, the programme is delivered in partnership with Sirlute as a four-part creative game design course for young people aged 13–16. Across the programme, participants develop their own 2D Game Boy–style game using GB Studio, guided by workshop facilitator Joseph Whitmore. Beginning at arebyte Gallery with an exclusive viewing of Fragments of a Panorama, the course combines hands-on world-building and character development with digital asset creation and game programming. Participants work with open-source tools including Piskel and Tiled before importing assets into GB Studio and using visual scripting to build interactive, narrative-driven gameplay. The programme concludes with a guest presentation from a leader in the games industry, offering insight into professional pathways, pitching, publishing and promotion. Participants finish the course with a completed 2D game, an understanding of narrative and character development from concept to gameplay, and practical knowledge of how games are produced and shared within the video games industry. Image: Norika Pacarada ## Affordable Creative Workspace arebyte supports London’s creative community by working with private landlords, developers, and local authorities to provide affordable working spaces. Through placemaking initiatives, we’ve built a thriving community of over 300 artists, makers, and designers across the city. In January 2025, we opened a new site in Mitcham (South West London)) with 48 studios, while the closure of our Peckham site at Old Kent Road in March 2025 ended eight years of presence in Southwark and the loss of 50 studios. These changes reinforced the importance of affordable workspace to our mission and the need for a consolidated, long-term home for our activities. Some artists from our Old Kent Road site relocated to our Bethnal Green and Mitcham sites, ensuring continuity for our creative community. At the end of March 2025, we signed for 100 studios in Camden, scheduled to open in May 2026. This strategic move marks the beginning of relocating our public programme to Camden, bringing most of our operations under one roof while the studios at London City Island continue to operate. By combining exhibitions, education, and workspaces, the Camden site realises our vision of a Digital Art Centre. Once fully operational, arebyte will support a total of 270 studios across East and South London, fostering a vibrant community of 300 artists, creative businesses, and digital practitioners. Images: Niki Tse. ## Impact - 9,044 onsite visitors - 192,912 views with 33.1% in the UK and with Brazil, USA, and India being the following top 3 countries. - 2 solo commissions, 2 group shows, 14 online works involving all together the participation of 45 talented artists. - 41 mentorship sessions and 10 workshops to support the development of 69 digital practitioners in education and early stages of their career. - 16 digital experts participating in talks, exhibition reviews, judging panels, and publications. Murthovic & Thiruda, Fragments of a Panorama, 2024. Images: Devika Bilimoria. =a,; >BA w **i** th ~*~ f ws" ; 1 7far Press Highlights “At the heart of this exhibit is an exploration of the Ld, . . ome ee eS—— Se : - “arebyte Gallery’s programme pioneers new forms of F e- 9 nin - boundaries of consciousness and What Is It Like? offers some strong statements about the human and the \» Ueib Wibureat e™_atg\ : jamsJheae,ONS engagement with creative technologies, to critically explore the impact of technology in contemporary a= EeH technological, arguing that current models of AI are incapable of sentience, emotion, or self-awareness, and ‘} 1 ‘ fFi . ed #t ij ie no4| ay 4aEdena4 society.” i ca Interview with _Fragments of a Panorama_ ‘ = t | : * i ~ " shedding light on why current debates about AI are | . ‘ { ae || ‘ Curator Kinnari Saraiya in FLO London ~~————————~~ (2024) lacking.” ‘ t “4 Barry Taylor, j _What is it Like?_ ! Trebuchet VRS:ANSYa Reviewed by (2025) RAS\ ay Soe>Seeeos “ _Alexandria's Genesis_ PPP 1ate.ee is a study of how ideas spread in % oo oe Seer the digital age. Dian's work reveals how myth and similar ey 2%; Boss - i coPeAes ED,aye QeEENSA A viral phenomena mutate to survive within algorithmic Lecigeeasy OPIS SEE SALEBO SE oe “me “I was doubly impressed by the screens on racks that you can slide along, and that movement changes the screen’s || WER~ % “ ESSEALLSTATE systems.” AEE A DELIA,gag % t, |t = es LPIA iy Lapras % ae. Alexandria’s Genesis reviewed by viewable content – it’s a technology I’ve not seen before, bkS a oS>>x\ 3 : DOTAUeALIQeLESLIE ieELTie IDE LIS mSSe (eae— Nora O Murchú, Anti-Materia ( ~~<~~ a 2025) and it’s very impressive.” = 7 = = Donia aiatiapiannainae _What is it Like?_ Reviewed by 4\ a al , aceon iniiiiteninieam Tabish Khan, FAD Magazine ~~Sities =~~ (2025) | : OOOO.RERRRLLL IRI P Report 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 2025. 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. Founded in 2013, arebyte is a leading organisation in the field of digital and emerging media art, exploring the impact of technology in our contemporary society through an ambitious programme of exhibitions, performances, workshops, and educational activities both in person and online. Based in London, our work spans Virtual Reality, Augmented Reality, Motion Capture, Computer Generated Images, Net.Art, Artificial Intelligence, blockchain technology, and more, pushing the boundaries of the artistic medium, curatorial practices and audience engagement. In parallel with our artistic programme, arebyte supports London’s creative community by working with private landlords, developers, and local authorities to provide affordable studios and co-working spaces. Through these placemaking initiatives, we’ve built a thriving community of 0ver 300 artists, makers, and designers across the city. Over the past decade, arebyte has supported more than 1,700 creatives and collaborated with institutions such as the Serpentine, Tate Modern, Goldsmiths University, University College London, and Ars Electronica. Our exhibitions have toured internationally to Berlin, Ljubljana, Wroclaw, The Hague, Paris, Vienna, New York, Shanghai, and Seoul. After 12 years in East London, we have entered an exciting new chapter of development as we relocated our art programme to our new site in Camden, which This move supports our continued expansion as we work towards our long-term goal: the creation of London’s first Digital Art Centre - a permanent space dedicated to shaping today’s culture. ## Our core values As an experimental institution in digital culture, arebyte is guided by the following values ## _**Critical Experimentation in Creative Technology**_ We approach technology as a site of inquiry rather than a neutral tool. Through experimental research and development, we push the boundaries of artistic practice while critically examining how technologies shape social, cultural, and political realities. Our work brings together art, humanities, and science to explore both the possibilities and consequences of technological systems. ## _**Diversity of Perspectives and Cultural Agency**_ We believe meaningful digital culture must reflect a plurality of voices, identities, and lived experiences. Diversity and inclusion are embedded in how we curate, collaborate, and programme — not as representation alone, but as a framework for cultural relevance, critical dialogue, and shared authorship. We actively work to address structural imbalances in both the art and technology sectors. ## _**Radical Collaboration and Open Exchange**_ Collaboration is central to our methodology. We cultivate environments where artists, technologists, curators, researchers, and communities work together, sharing knowledge and expertise through open, process-led exchange. These collaborations enable new forms of practice, experimentation, and long-term relationships. ## _**Environmental Responsibility in Digital Practice**_ We recognise the environmental impact of digital culture and commit to developing more sustainable approaches to digital art production, exhibition-making, and distribution. Sustainability is integrated into our curatorial thinking, technical processes, and organisational decisions, with the aim of contributing to sector-wide learning and change. ## _Talent Development and Artist-Centred Support_ We are committed to nurturing creative practitioners at all stages of their journeys — from young people encountering digital tools for the first time to artists at more established points in their careers. Through education, mentorship, affordable workspaces, and production support, we create accessible pathways that enable experimentation, risk-taking, and the development of sustainable practices within an evolving digital landscape. ## arebyte Digital Art Centre ## The Camden chapter The strategic relocation to Camden at the end of March 2025 marks a key step toward arebyte’s long-term vision of a Digital Art Centre - a dedicated base for ambitious commissions, public programmes and critical engagement with technology-driven culture. Housed in the former British Transport Police Headquarters, the temporary site functions as a pilot space where we test and articulate this vision publicly, and embed the infrastructure, identity, and programming that defines it. These years allow us to demonstrate a sustainable model for artistic experimentation, digital production, learning, and public engagement that can be scaled to a permanent digital art centre, supporting the growth of digital practitioners. For the first time, exhibitions, residencies, affordable workspaces, research, and education operate under one roof, forming an integrated ecosystem that nurtures a community of artists and creative businesses. Image: Devika Bilimoria. ## 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 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 & Performance ## _Programme of activities_ Our annual programme provides opportunities for creative professionals, children, and young people working within digital cultures to develop skills, gain professional guidance, participate in public exhibitions and workshops, and engage with critical and experimental digital practices. As part of our triennial theme The Body, The Mind, The Soul (2023-2026), we invited artists, curators, creative technologists, researchers, and writers to contribute to our exhibition programme. These collaborations resulted in a rich array of outputs, including 2 solo commissions, 2 group shows and 14 online works, involving 45 artists in total. We also invited 6 digital experts to contribute to the exhibition programme through panel discussions, exhibition reviews, and essays for exhibition booklets, enriching the programme with critical perspectives and professional insight. Our educational programme, developed in partnership with art and educational institutions, provides hands-on learning in creative media technologies and supports the growth of children, young people, and early-career digital practitioners. Together, we delivered 10 workshops and 41 curatorial mentorship sessions, reaching 69 participants. The programme also included judging panels led by digital experts, offering professional feedback and guidance to support participants’ creative development. _Attendance and Public Reception of our Programme_ arebyte continues to engage a diverse audience of both children and adults. Over the past 12 months, the programme attracted 9,044 onsite visitors, representing a stable level of in-person engagement compared to previous years. Attendance remained broadly consistent with the previous period (10,017 in 2023/24), reflecting sustained audience interest and the programme’s ability to maintain reach across diverse programming. Our online presence continued to grow, particularly via Instagram and our website, reflecting the expanding reach of our programme nationally and internationally. Instagram, our primary online presence,saw a 782% growth in views from the previous period, with 104,229 total views and 15.6k profile visits. Our website also attracted 66,529 users, with 25,078 of these being new users, demonstrating a consistent trend of reaching a wider online audience, worldwide. Of the total views, 33.1% were from the UK, with the remaining audiences coming from 147 countries worldwide. After the UK, Brazil, the United States and India were the top three countries. The strong engagement from India reflects the impact of our exhibition Fragments of a Panorama, which foregrounded Indian heritage artists and explored themes drawn from Indian culture, resonating with audiences in India and across the global diaspora. ## _Creative Workspace provision_ In January 2025, we opened a new site in Mitcham (South West London)) with 48 studios, while the closure of our Peckham site at Old Kent Road in March 2025 ended eight years of presence in Southwark and the loss of 50 studios. These changes reinforced the importance of affordable workspace to our mission and the need for a consolidated, long-term home for our activities. Some artists from our Old Kent Road site relocated to our Bethnal Green and Mitcham sites, ensuring continuity for our creative community. At the end of March 2025, we signed for 100 studios in Camden, scheduled to open in May 2026. This strategic move marks the beginning of relocating our public programme to Camden, bringing most of our operations under one roof while the studios at London City Island continue to operate. By combining exhibitions, education, and workspaces, the Camden site realises our vision of a Digital Art Centre. Once fully operational, arebyte will support a total of 270 studios across East and South London, fostering a vibrant community of 300 artists, creative businesses, and digital practitioners. ## IV. Financial Review This financial year covers the period from April 1, 2024, to March 31, 2025. ## _Performance_ This year total income was £823,166, compared with £938,535 in 2023/2024. Income from charitable activities decreased to £643,709 (2023/2024: £842,499). This reduction was primarily driven by lower workspace rental income of £486,860 (2023/24: £685,822), largely resulting from the loss of 65 studios at our Camberwell studio complex, which closed in January 2023. At the same time, donations increased to £188,457 (£96,036 in 2023/24), reflecting capital and revenue contributions secured from landlords in relation to some of the meanwhile properties we operate. ## 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 2024/2025 arebyte’s support costs increased slightly to £64,044 (2023/2024: £59,925). ## Reserves policy The Trustees review arebyte’s reserves policy annually to assess the balance between income and expenditure and to ensure sufficient funds are available to meet liabilities. The charity’s reserves policy is to maintain funds equivalent to 3–6 months of anticipated expenditure. At the end of the financial year, reserves totalled £338,574 (2023/24: £290,050). In line with strategic priorities, reserves have been both built and partially deployed to support the development of the Digital Art Centre in Camden, explaining the higher reserve level while maintaining long-term 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: 25-27 Camden Road, NW1 9LN London Trustees: Jonatan Jona Guy Armitage Sumit Paul Choudhury Nimrod Vardi Eva Pascoe James Viggers Financial year end: 31 March Independent: examiner Morris Crocker Lake House 2 Port Way Port Solent, Hampshire PO6 4TY Bankers: HSBC Bank plc 48 Canada Square London E14 5HQ 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 22nd of January 2026 and signed on its behalf by: Guy Armitage - Chair January 2026 ## 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 2025. ## _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: 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. 22/01/2026 S F Mackie, FCA Morris Crocker Chartered Accountants Morris Crocker Lake House 2 Port Way, Port Solent, Hampshire PO6 4TY The financial statements were approved by the Board 22nd of cevesnetenteyueseeeesiesnnesiesseeoeeeseees January 20262026 @NG were Signed on its behalf by: The notes form part of these financial statements The notes form part of these financial statements 27 The notes form part of these financial statements > continued… 28 AREBYTE AREBYfE MOTES TO TFtE FW%CWL STATEMEI+TS-CfJnuTh￿d FOR THE YEARENDED JI MARCH 2025 NOTES TO THE FVWICFhL STATEAIEPITS-conMued FOR THE YEAR ENDEO 31 MMICH 1025 DONAT￿￿5 PYD LEGACES SVPPORT COSTS 2025 2024 GovtTnaDce ManawTrent F￿a￿lle Totas tknna*on5 188.457 96.036 Ftogramme and 81.224 108 2,712 Dtsnatian5￿ kind totalkng £92.952w8re r8c81v8dforG[w￿ Ads At88knrt8Othnaknof£45,000 Yrd5 rg(ev￿o friwn c￿[￿)￿ H(MJsing Protwtv Deveknpmenl Set¥ice5 Lwllited as a fil4￿1 ¢￿tr￿U￿)n lo Ihg caprta 1etsLv51m￿1rfkne Mti(ham StL￿10 SupwKt Costs. 1￿c￿*￿ed inthe above. 3reasfrlknws." Unr&mcied CO￿lSted of £17,500 receNed fr￿ ciamn Hou￿. £32.105 tr￿ Reg BarkN¥esi 35 a Contr￿ts)n 10 ￿eratI￿￿ COSL% for the Keni Srte. and £900 amwnkng Trom Ind￿K￿￿ Ilfrnagèm￿I 2025 Powjrarnffle and Slud 2024 Tual IICOME FROM CHARttABLEACTNttlES 2025 2024 AcNty PrLuramme anrt PrtyrdmMea￿ S￿d￿$ Programmeat￿ S￿d￿5 Wage5 Po¥tage sts11￿ry staff tr3in1 Travd & hospitalrty 49.361 5,336 44.186 5.1 Gran15 CuratotEaiilllxXTrIè ￿￿k@t 143.3fH) 1.250 1.299 2.0 486.8 143,586 1,250 2,541 4,3 685.822 5,OLY) 5.424 7.M2 fee Ud￿rent￿l Ve￿￿ hire Income Prograrn￿ea￿ Progr￿Mea￿j SWth5 61,224 57.236 Flnance 834.709 B42.4Y9 2025 Prooramme and Slud 2024 Ti*al Gr￿S￿￿1Ve0. InclU￿d ￿tthe thve. *e45f￿￿15. 2025 2024 Bank thar 169 Greater LonthnAlmm- Roya D0thsin￿hIpPr0tyaMme Ertbsh c￿￿ttl Polska soc￿7 sc￿nCesa￿d Resparrh CIxnL Lea￿Tr￿1h Limttgj Pathet5h UCL East ACE Atts Cound EngLi￿l- Naknl INPOI Outset c￿leME*￿IArt Fun 20.Q 12 500 13,IlJO 200 Govemance costs 2025 ramffle atbd Stud 2024 113.3 10.otxi TL*al aet￿￿•1 143.3 143.586 AcciKntsncyand C￿su￿(Y I￿e￿dernexamInerS fee 1,8 B22 1.756 765 CFL4JltthBLEACT￿lES COSTS 2,712 2.521 Supp cost5 (see notè 51 Direct TOtsL4 TRUSTEES. REAIIAIERATION BENEFirs 71Q.5 64.044 714,642 In ièrm8 Dt ol trUStÈèa, Charrty a$ b¥sL4 ty its govornan¢o moo (onststubon providth by the Chanty Commission, speufically cL4use 6. Of the chatity trust 2024125. no tru5tep was coTnpeD5aled for thwr sefwces the year. whKb Ine￿5 Ielerence to dause 613xgl tm al of chatty trustses In orr1￿ weie noi recew f TetllUn2rali0norpa￿au1￿SedbY 6. continued... 29 AREBYTE AREBYfE MOTES TO TFtE FW%CWL STATEMEI+TS-CfJnuTh￿d FOR THE YEARENDED J1 AIARCH 2025 NOTES TO THE FVWICFhL STATEAIEPITS-conMued FOR THE YEAR ENDEO 31 MMICH 1025 TRUSTEF5' REMUNERATION AND gENEFIT5- TNJIGBLE FiXEDASSEts Fixtures and fftting5 Tru5tees'expenses Planl3nd aChm￿ry bray L￿kS There ￿re mtsu5tee'stravd eXpensespakItrrfthe￿¥￿ed 31 Maich2025 (2024. nlll T(¢as STAFFCOSTS COST Al 1 2024 Addikn5 2025 024 al.￿2 8.917 47.276 931 79289 9,036 Wafj* 132.332 121.748 At 31 PAarch2D25 39.999 47.276 1,0 88.32S 132.332 121.74B DEPRECIATK>N At 1 2024 Chaige foryear 19. 8.441 47.276 921 51 68.191 8,492 KeY￿an1￿?￿ent￿mW9[aIwJn Dumg the ￿£[. key mawwnent ￿￿n21 cornprised of the Managiw thrector eam remuneFatrMof £64.26012024 £58,915) At 31 March2025 28.435 47.276 76. NET BOOKVhLUE Al 31 March2025 Th8 avErwJ&mllnthlynumb8f th1 5￿wa¥a$f￿1ttl1￿". 11.564 11.642 2025 2024 At 31 March2024 11.Q88 10 11,098 mln15tTrlK cha￿lab￿ acMe5 11J. DEBTORS.. AiiouKrs FALLING DVEWTHIN ONEYEP 202S 2024 Trade debt No empknbEe5 ￿CeNe￿ em0knMerts￿ ￿CesS of£60.0W. ,091 49.f28 COI¢PARaTNES FOR THE STATEIIENTOF FINPJIC14LACTNITIES-2O23124 unresthc￿￿ Resthtted 49.829 funds WICOME AND ENDOYIIIEKtSFROAI Donationsand legaue5 CREtHroRS: AMOUNTS FALLWG DUE WtTHINONETrEAR 2025 2024 Chariiable actfvttles Fyogiamme SiUdlCFS Trade Social 5ecuttyatbd othBrtaxes Stud￿ holdeis de￿ISitS Accrua5 and Opfetred inCL¥ne 21,040 2,868 43,B01 43,255 22. e*.913 143.586 142.499 93.220 46. Totsl 791.949 143,586 939.535 110.964 162.015 EXPEIIOITURE ON Chartiable actfvitles Programme 719. 133.586 53.572 2025 2D24 BrOu￿tfo[¥ra ounl [￿eaSed to ￿x￿j[￿e> AM￿nI￿ere￿ed In 5Ear 44.4 144,49Jl 19.451 16.6 NE[ IIKOME 74.963 10,000 RECONCL￿T￿)N OF FUIIDS Totslfundy hI￿nifOr￿ard Carw f¢n¥ 19,4S1 44.460 205.D87 205.D87 Defe￿ed kncrrfne rwesents slu(kn rents rec&yed In advaKe. continued... 30 TOTNI FUNDSCPAIRIED FORWARD 29J.050 10,000 290. AREBYTE AREBYfE MOTES TO THE FItIltrlCWL STAfEME1ITS-cottttTh￿d FOR THE YEARENDED 31 MARCH 2025 IIOTES TO THE FiliANC￿L STATEMENTS-conknued FOR THE YEAR ENDEO 31 MNRCH 1025 12. ANALYS￿ OF NE[ ASSEtS BET￿EN FUNDS 13. IIOVEMENTIN FUNDS- continued 2￿5 Total 2Q24 UnreSt[KI￿ Restr4Cted ru￿9 COMparn￿ve9 lotrnovement In lunds 11,642 427,8 1110.9fAI 11,098 440,967 Nei mOVExneTrl CU￿enta￿sels CU￿ntIl*ll 10.ow 437.8 1110.9641 Al 14.23 31 3.24 328,574 10.0 33B.574 ?90￿￿1 GBner4lfuthd 205.087 74.963 28D,Q50 11 IIOVEAIENTIN FUIIDS Resthctedfvnds Brlushcounoi PDlska 10.orxi 1D,O moV￿ent kn fvnll5 At 1.424 31.3.25 TOTPL FUIKJS 205.087 290,050 UnTrytrictsd G￿tallU[hd 280.0 48.524 328,5T4 cOm￿alIve lletrnovernenl ￿ funds. IntheatK>ve3re as fO1￿￿￿S Re5thdedfund5 BrtD5h C[￿1d1 PoL%ka 10.0 10,000 IncomiThJ resource5 Resources Movement eXpe[￿d f￿￿S TOTAL FUNDS 290.0 48.524 338,574 Unre5trth l￿d$ Generallu￿j 791.949 (119,986) 74,963 Netm(weMenith fund5, In th2 area5fokn. Resknctedfunds 12.$00 2.586 12.SWI 12.5861 1D,t Incamv source5 R850urcés mUv￿8nt f￿5 pxpetbded Gte3leT Lotth Authoti Soci31 Sciences ano Humanitie5 Research c￿ncIl Leaffloulh ￿￿rtett Patknetship UCL Ea51 ACE AJts Ewland- Nthnal Porttikn Organisthn INPOI 2022-2026 Untestrthd hmds Generalfund 13.000 200 2.UQO 113.orNIi 121M)I 12.OLNJI 631866 1584.3421 48,524 j￿h Coungl Polska UCL E35t ACEPJts Colln￿ Na￿31 PO[trol￿ Organlsal*niNPOI 2023-2026 Clanon D@vdDPm SeNces Ltd 0utsetCLthw￿￿rt Fund 20.000 120.0￿) 113.300 1113,3fAII 143.586 1133,5861 ID,0 11130 1113.3(W)I TOTAL FUIIDS 93B.535 1853,5ni 45.ODU 10.0 145.0￿) 110.OflJl 190.3 I1W.3￿)I TOTJI FUNDS 823.166 ITT4.6421 48,524 continued... 31 AREBYTE NOTE5 TOTIIE FINANCW STATEMENTS. cont¥iwd FOR TFIE YEAR EIIDED 31 IIARCH 2025 14 RELATED PARTY OI$CLO$URES No iTu5tse padforthpirfutKbon a5 ITu5teE. 11 MOVEMEP4T FUNDS-continued 1& RECONCILiATION OF IIEf INCOME TO WET CASH FLOYI FROM OPERATING ACTlVtriES 2025 2024 Royal Dock5. Intettthw All inthlve Ihatgives knca] swg peoplelhe (wortunityto wotk with ProgrJmme organi5*Ky￿ In the R9¥31 D(￿$ and Ihe vionty Arewe wrbrwl8 sct*me ana rec•wed 50% 8uwaybJ CO￿ the w•)èofan ￿tern asS￿ting]he teatn Ilèt kncomèforthèièportlno pArlod Wlhè slat￿n￿￿t Financkil NthNitie51 AdJ"ustrnents r(br Depfeciakn char9es Decrwdse Indebl<)rs IOècrÈaaèiiintrÈaaÈ In ¢re￿￿ 4B.524 8,492 27,234 27, 25.519 24.752 AN￿D￿tt Ar￿￿￿pa￿￿8Trt ￿ covertr* costs ola4drtK￿aI wort from tyjryess and mathetro manaws to coverfor Intem. v#%>¥ wage Y¥d$ $upty*ied by I￿s. been ata reduc￿1 rateduetos￿neSs. Flet cash provided byoppratwTrs 33,19J 162.W24 CoLvK4 Polska UKJPc4and Season 2025to1Ard8the eXhIb￿l￿*What ￿ tt Llk Soc&il scien￿ an HumaNfyes Re5esrch Counu5 Soul Sclences aThJ Hurnanrt￿ ReSe￿h Ctymcil ISSHRCI. Grant IthV*dS c￿$ byzath B￿$. 1& ANALYSIS OF CHIJIGES ￿ NET FUNDS At 1 4.24 Cash ntyj At31325 Le￿￿th partnetshlp ore. ContrIbuh￿ lo Maria Than e¥enlas palofTh8 IsL￿r Feslyal Net CB ACE Counul Eng￿￿- N3￿Mal PortfdYJ ￿￿saI￿n INPO) AREBYfE Afts CouncA E￿I3[KI. Nat￿¥ INPOI 2112>2￿2￿ IIOTES TO THE FWANCFhL STATEMEPITS-conknued FOR THE YEAR ENDEO 31 MNJICH 1025 UCL Easi. 8A1418dia- Contrlbkn to Unlver4ty Reskjency Pr(#Jramme- Exlwb1t￿n P(￿luC1￿Mi costs UCL East 1& ANALYSIS OF CHPJIGES NET FIINOS-con1Th￿ Cash albank Outset contem[￿ Part￿r8 GMI lowaththe dthoryolarebWWs p￿jgI1. adlgrt* tocl lo Art FWKI dtsseminate conieni 391.339 24,163 415.502 391.339 24,163 415.502 Clarw Housing To support the convffyon Th.OLrtofthe Mitcham spaceto Prcwty DevekorneN fund*nal aflwoable cre*Ye Slthyns. enabino artbts and crealve Se[￿ces Lunited practibonets 10 PUTpos&buiKenvwonmenL Total 391.339 24.163 4153)2 32