Charity number 285125 Company number: 01615990 (England and Wales Chlsenhale Art Place Ltd Report of the Trustees and Unaudited FinanGial Statements For the year ended 31 March 2024 *[sI6$M4 A15 1811212024 COMPANIES HOUSE
Chisenhale Art Place Ltd Conlents Page For the year ended 31 March 2024 21021 deFenderrt Examinefs Rewttothe Tnbstees 23 24 Ne5 to the FinwKial 25to32 Detailèd St3totrrt d klMts 33kn34
Chisenhale Art Pla¢e Ltd Report of the TNstees For the year ended 31 March 2024 The Truslees. who are a150 tlweclors for the pUce5 of eryary Ivw. have pleaswe thar pOrt and the financia statemthts tr the draritable Ihe ye ended 31 Mch 2024. The Trustees have adopted Ihe prtiwsion5 of Accounting and Rerbn9 ty Chwibes". St8temeni of ReconYrthd*J Pr8Ctice appkable to charitRs prepwing their accowts in accordzrKe ¥&Tth the Fina ReP).g Siarnlarf app1me in the UK and the Reput4ic of Irdand (FRS 1021 leffeclNe l January 2019}.
CHISENHALE ART PiACE UMtrED REPORT AND FINANCIAL STATEMENTS YEAR ENDED 31ST MARCH 2024 COMPANY REGISTRATION NUMBER.. 1615990 CHARITY REGISTRATION NUMBER 285125 LEGAL AND ADMINISTrATIVE IfrIFORMATION DIRECTORS & TRUSTEES: L Kennedy M Regan S Harding J Baines l Hancock K Hardv S Musgrove N Onuba (resigned December 20231 C Oernoisy resigned15 December 20231 Nadine Thomton-Dewhirst tioined 5 December 20231 COMPANY.SECRETARY.' A Wakelin REGISTEREO OFFICE.. 64-84 Chisenhale Road London E3 5QZ REGISTERED INDEPENDENT EXAMINERS: Counterculture LLP &4NKEIiS Unity Trust Bank plc, Nine 8findley Place Bifmingham Bl 2HB CHARITY REGisfRATION NUMBER.. 285125 COMPANY REGlSfRATION NUMBER: 1615990
CHISENHALE ART PLACE LIMITED DIRECTORS, AND TRUSTEES, REPORT The directois/trustees present their report and the financial statements for the year ended 31st March 2024. The information on page I forms part of this report. DIRECTORS, RESPONSIBILITIES Company Law which is also applicable to charitable companies in England and Wales requires the directors, who are also trustees of the Comparry. to prepare fin3ncial statements for each financial year which give a true and fair view of the state of affairs of the Company and of the results of the Company for that year. In preparing those financial statements, the directorsltru5tees are required to-. selert suitatrde accounting policies and then apply them conslStently- make judgements and estr"mates that are reasonable and prudent., and prepare the financial statements on the going concern basis unless it is inappropriate to presume ththe Cempany wlll ÉORnue in busimess. The directorsltrustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the Company and to enable them to ensure th8t the financial statements comply with the Companies Act 2006. They are èljo responsible for safeguarding the assets of the Company and hence for taThg reasonable steps for the prevention and detectlon of fraud and other irfegulanties. In accordance with company law, as the Comparry's difertors we certify that: so far as we are aware there is no relevant financial information of which the Company's Independent Examiner is unaware. as the klirectors of the Company we have taken all the steps that we ought to have takeA In order to make ourselves aware of any levant audrt inlormats.on and to establish that the Company's Independent Examiner is aware of that inform*ion. I. OBJECTS FOR THE CHARITY The objetts for which the Company is registered are to promote, maintain, improve and advance education for the benefit of the public. parDcularty by the encouragement of the Arts including the arts of painOn& drawin& sculpture, photography, design. architerture. printmaking, film, music, sInng. poetry. literature, lithography, ballet. dance and drarna. 2. STRUCTURE. GOVERNANCE AND MANAGEMENT Governance ond Orgonist7ti0n." The Trustees. who are olso the dirertors for the purposes of mmpany law. who served during the year were: L Kennedy M Regan S Harding J Baines l Hayscock K Hardy
S Musgrove N Onuba (resigned December 20231 C Demois¥ The company 15 called Chisenhale Art Place and is governed by its Memorandum and Article5 of A550ciation dated 22 February 1982. The company is limited by guarantee and has no share capital. The guarantees of individual rnembers are limited to £1. The company is a registered charity 12851251. A Board of Directors is responsible forthe Charitable Company's over311 mana8emenl and control. Dvring 2023-24, the Company employed Iwo staff. one on a permanent basis and one p#rt4ime. 03y- tdaY running of the Company and operational matters including finance, employment and policy implementat6on are undertaken by a Board appointed Executive Director. who works 28 hours per week. The public prograrnme is delivered by a Public Engagement Co-ordinator who works 12 hours per week. A further permanent role of Administrator was created in March 2024. to support with and deliver operational management and to support the Executive Director. In 2024. the previous Executive Director of 19 years left the or8anisation. whereupon a new Executive Director took up post. In line with HM Revenue & Customs guidelines. all regular staff are employed on a PAYE basis and the Executive Director prepares the monthly payroll. Members of Chisenhale Art Place {CAPI include Chisenhale Dance Space, Chisenhale Gallery and 45 studio artists. Chisenhale Dance Space and Chisenhale Gallery are independentfy managed member Qfganisa'ons wilh their own eleeted Board gf Difeetors. Chisefihale Gèllery is a fegi5tered charity 110261751 and registered company1028517941. Chisenhale Dance Space is a registered charity 12881491 and registered comp3ny11740641). The Studios are directly managed by Ch55enhale Art Place. and it5 artist membergCQntribute tothe running of the studios through an annually elected Artist Advisory Committee. Recruitment ondAppointment of new Truttees The Chisenhale Art Place Board of DIOr5 meet a minimum of four times a year and trustee5 are artivety involved between meeb"ngs. All new trustees are identified and subsequently nominated bv Members, which includes existing trustees. and voted in at the Annual General Meeting. The Board of Directors is entitled to appoint further trustees after discussion at Board meetings and in accordance with the Memorandum and Articles of AsscKlation. One third of Trustees stand4own each year in rotation at the Annual General Meeting and are eligible for re-elertion UDles& it is de£.id.¢d that a v?cant post will not be filled, or if the trustee has. exceeded a tenure of nine years. Trustees Inducfion ortd Troining All potential new trustees are asked to submit a profile of the skills and experience they bring to the Board. They meet with at least two members of the Board before attending at least one board meeting as Observers. before being appointed. They are also 8rven the most recent Annual Report and Accounts, other information relevant to the Compary, and provided with information about the respon5ibilitie5 of being a trustee. No formal tf•ining 13 ufidertaken at that poifit, bLt trustees may be expected to take part in training that relates organisatfjonal development and growth.
All trustees must agree and sign a Trustee Code of Conduct and sign an annual Declaration of Interests. All Trustees give their t6me voluntarity and receive no benefits from the charity. CAP is mindful of diversity and inclusion to create more balanced decision making as per our Equal Opportunities policy and is currently working to diversrfy the Board. increasing the charity's legittmacy and impact. Reloted Paths The Company has no subsidiaries. The compary has a working relationship with London Borough of Tower Harnlets. frorn whom the Cornpany leases its premises. The Company also has a close workinB rèlatsortshlp wlth Its twu member urean15atturts whlch are separatew constttuted.. Ch15enhale Oanc Space and Chi5enhale Gallery. Each member organisation may appoint either a trustee or a senior member of staff to join the Chisenhale Art Place Board of Trustees_ The two organisations prefer to have their Senior staff members attend Board meetings in a less formal capacity. Emma Starkings, Deputy Director Chisenhale Gallery and Reece Mcmahon, Director Chisenhale Dance Space. attend the Board meetr.ngs along with Henrietta Armstion& Ce4hair of the Chisenhale Studigs AFiists Advisory Committee. 3. PRINCIPAL ACTIVITY AND MEMBERSHIP The principal activity of CAP is the provision of affordable workspace for the making, rehearsing. exper.imenting, and PFesenting of contemporary art and dance. The ocÉupieFS of the work5pa£es are all members of Chisenhale Art Place. The two member oreanisations- Chisenhale Gallery and Chisenhale Dance Space. are lone established members who hold sub-leases with CAP and a themselves registered charitable companies. The 45 Studio members. seven of whom are oriEin31 founding artTSts, hold licence agreements which govern their participation a5 members. The agreements also serve to provide long term security to artists, in a sector that all too often provNle5 little assurance of longevity. A5 individual artist members, prèdice and needs ewlve. some studios become vacant on avera8e twice a year.. Any upÉoming vaont+e5 ère adveth.sed an a dedKated mailing Ib5t of artists seeking a stvdio with us, which is regularly Promoted and always open for new subscribers. Priority is given to applicants struggling to afford a dedicated daily studio prartice and who are willing to activety parhcipate in our organisation and contribute to our public benefit. To increase the dwersity of studio members. we encourage applications ffom artists with protected characteristics or from backgrounds currently underrepresented within the sector and affordable studios network. Applications received are rewewed by a selection committee comprising the Executr"ve Director and a rotation of representatives of the Artist Advisory Committee. before shortlisted artiSt5 are invited to interview. We aim to create a fair system for accessing our Studios and to provide a vibrancy in artistic activity by members at all stages of their careers. This process is currentky under review as we develop a CAP Equity. Diversity and Incluyion Poly. SeveFal studigs aFe also made awdilawe on a meFe tefflpgrary and wst-flee basis, Èhrough Residencies which enhances diversity of artistic exchange and create more opportunities for public engagement with artistic processes.
Public Benefv The other key activity of CAP is the provision of programmes for public engagement, learning and artistic development. When artists take on a Chisenhale studio. they not only agree to contribute to the running ot the collective Studios, bLrt also to contribute to the programme of arts artivities delivered in and out of the buildirt8 with cornmunity. educational and other art Partners. Classes, W0ShopS and open Studio sharing events promote wider enjoyment and understanding of artiskn"c. proEes5e5 and the benefit.of using £reativity for wellbeing. Partic.ipants in t.lasses and workshops are largely from our local community. but everyone is welcome. We also run activities to help artists develop their practice and careers. These take the form of short residencies and year-long programmes such as our flagship Into the Wild course. The course increasingly attracts very diverse parricipants and each year the programme grows 3nd evolves. All a¢t6viDes ddivered directty by Chisenhale Art Plate are offered at no cost to participants. Artists a150 run their own courses. which are fee payin& but kept affordable by the free use of our accessible ground-flour Education Studio. Specifically, Chi5enhale Art Place supports its aims by: Continuing to Secure the long-term sustainability of 64-84 Chi5enhale Road. as an èffordable workspace for the makin& rehearsin& experimentin& and presenkn.ng of contemporary art and dance and an open and accessible place for art at the heart of the local community. Providing 41 affordable, secure and flexible workspaces for 45 visual arknsts. Providing at least one dedicated studio space for residencie5 and public sharin8 events. Providing one dedicated. accessible education room forthe wider public proBtsmme. Pravidifig affeFdable, seeu¥e aAd fleXIe spaee lor aA independent EhaFit8ble gallery. Chisenhale Gallery. Providing affordable. secure and flexible space for an independent artist-led charitable dance organisation. Chisenhale Dance Space. Offering a range of accessible, diverse activities foT the public and community partners to parknc.ipate and learn about art and to understand the benefit o creativity to wellbeing. Offering professional development and support to am"sts. curators and oiher artsleducation organisations. Offering opportunities for students and volunteeis to gain organisional and art5 educats.on experience as weil as an understanding of studio practice. The trustees confirm that they have referred to the guidance contalned in the Charity Commissions general Euidance on public benefit when reviewing the chartty's aims and objectives and in planning future activities. 4. ACTIVITIES AND ACHIEVEMENTS DURING 2023-24 Public Programme We continue to work collaboratively across Chisenhale Art Wace within our annual lendar. with planning and delivery of Summer of Art taking place throughout the year. ()uring 2023-24. thbs was a programme between the three organisations, financially supported throuBh a joint applicat]'on to Action for èow. Activities are largely focused on family friendly creative artivities for people living in Tower Hamlets, but everyone is welcome.
The public progTrmme also offer5 smaller, one-off acbvities with partners in our local community as detailed below. A mainstay in our public programme is Into the Wild. an alternative arts education programme offering a year of mentorin& opportunity and practical advice for earfy career artists facing multiple barriers. The programme gn)w5 and evolve5 each year and during 2023-24 it attracted a greater divergty of artists seeking to create their own Brt wtsrld with triticality. care and collaboration. The programme was fi"nancTrally supported by Arts Council England with additional funding by Chisenhale Studio Artists who contribute to charitable arti¥Fty through an Education Levy. In more detsil, the public programme activitie5 in 2023124 included- . The Chisenhole Summer of Art Festivoltook place July- August 2023. This is ? joint pro8ramme between all three organisations, in nIUnCtiOn with local school Chisenhale Primary to deliver fa'r41il*orlentéd aetivitiès t"e thè T84¥er Haiiilets" CoiiimuAity. Activtties inélude: a ¢ative st¥eet partv alongside indiwdual community-focussed workshops. Made possible due to funding from AtD"onfor Bow. Into the Wild. Continued to run unts"l July 2023. facilitated by Sophie Chaprnan. This is an alternative artist development programme. This 15 about how to thrive as an artbst and aimed at early career artists. It c.onsistS of. artist-led woFkshops as a part of a full programrne of artist development. This was made possible thanks io fvnding from a NaDonal Lottery Project grant. 2024125 is a planned fallow year for the programme. which will resume in 2025126 peftdbng funding. Partlcipants in 2023-24 were- Aisling Gallagher, Alistair AV$, Amrit Sanghera, CFara Otuokere, Elijas Grybe, George Rosa Murphy. Jack Rooney. Lity Lavorato. Maddie Exton and Puer Deorum. • Our annual Open Studios event was back in 2023124. Open Studios is a weekend event where Chisenhale Studio ath.sts open their doors to the public and share their prath.ce with members of the comrnunity. As studio practice is an inherently priwate activity, Open Studios is an opportunity for 8rtigts to connert their prnxis with the community and with potential future artistg. A$t$ dasseS-" Artists a¥C14iseHhale Studi13s ffequeAtIy Fun their. owll tlasses in the a¢<essible ground floor education roorn. Nadine Mahoney ran regular ueative fused gla55 workshop5 and Kate Hardy continued her Wednesday evening painting course. These are all the artTSts own courses. who charge a small fee for their time and materials. OUT artists also teach at adult learning ntre5 and higher education institutes. give classes at other arts organisations and deliver a range of workshops for all ages including many s£hool groups. Orgonisational Development In additr.on to the public benefit that runs throughout the public programme, the Trustees. Members and staff regularly identify and review addition31 area5 for strengthening the orEani5ation. During the h'nancial year of 2023-24, we continued to stngthen collaix)rative working between Chisenhale Studios. Chisenhale Gallery and Chisenhale Dance Space. The Summer of Art PTo$ramme is a great example of the impart we can collectively make through shared fundraising and delivery of PTogr8mme$ of 8Ctivty in our local 8re& of Bow, Tower Hamlets. Tg furtheF St.renglhen how we WOFk together.. the ChaiFS of Boards and ExeÉutive DIr.ertO grèup meets reEulèrly to update and pTogre5s rnatter5 that irnpact on all at Chi5enhale Art Place, such as governance and the future of the buildin&
Organisational policie5 relating to human resources. financial management. EDI and space u5a8e have all been under the process of development and implementation throughoLAt the year, in conjunth.on with the Artists Athfisory Committee. Chairs and Directors Group and of course the Board of Trustees. as appropriate. We continue to explore the development of the organisation's governance in order to ensure that the appropriate dNersity of voices. expertise and experience can help the org3nisation make grxjd de£isions and benefit fmm good practice in charity management. Potential Redevelopment of BrewerySite Chisenhale Dance Space occupies the entire top floor in the premises adjacent to the Main Building. The remainder of that site was initially occupied by a brewery. which closed in the 1980 5 and has been unoccupied since that time. The Landlord ILondon Borough of Tower Hamlets) has not been proactive in its'redevelopment.and the site has become very derelict. In view of thelerm5 of our Lease. development of the site cannot proceed without the agreement of CAP. We view development as an important opportunity for all the organisations and for the community. In Oecember 2021, the landlord offered the portion of the Sbte we do not occupy as a potential 'meanwhile' space. CAP was not given advance notice of this happening. Subsequently we were approached by Creative Land Trust. an organisation estsblished to secure long term. affordable space for ueati¥e5, to explore if a partnehIP might meet with greater long--teim success. MembBrs agreed topursue this option and an applbcation was submitted to the Council. We are committed to collaboratively working with the Council to develop a viable. creative. communal future far the f1 site lineluding the dereliÉrlmeanwhile spaÉel and are ope.n to exploring a range of options for ownership, governance and management to make this possible. Securing the long-term 5u5toinobility of 64-84 Chisenhole Rood.. The current lease held by C4P began in December 2006 and e¥pires in Oecember 2031. This twenty- five year lease with landlord London Borough of Tower Hamlets runs consecutively to the initial twent*five year lease of December 1981. Wherh CAP first took on the derelict former factory. it wa5 a thell of a building. The first members created the internal strurtures of the 8rt spaces as they are today, fi'ttinE OLlt the internal areas and making the exterior wind and watertiBhi. CAP conkn.nues to maintain the building, but it is aging and has received no structural investment by building owners. Theexisting envelope qV•reS upgfadin& with roots and 5ingle-glazed windows replaced. The building also needs to be fulty accessible to provide for people of all abilities. CAP wish to develop a vision for the future of the 64-84 Chisenhale Road which allows it to remain as long-term, sustainable. and affordable workspaces for the m3kin& rehearsing, experimenting, and prpsenting of contemporary art and dance and an open and accessible p.lè¢e for art at the heart of the local community. To support this progression, the Greater London Authority provkled £ISk for feasibility study to be conducted by an extemal arthTtetturnl fimi. Following a tender process in partnership with Creative Land Trust, Studio Multi was appointed to conduct this work, which was completed in July 2022. The study included a proF)osal for deyelopmenf of the existing building lo improve it5 usability and environmental performanr.e.. It also explored how the derelict parts of the full site could be returned to beneficial use for artistic, comTnunity and educational purposes. 10
Rent Review As per the lease arrangernents, a rent rewew is conducted every five years. In preparation for the December 2021 review. a sf(e visit with both paS surveyor5 W35 conducted in N¢)vember 2021. CAP had been regularly liaising with the landlord via exlernal Surveyors DWD to conclude the fent review but due to changes in LBTH'S surveyors. it took time to finalise. We are delighted thi5 ended favourably in December 2022. with the landlord agreeing to a 2ero percent increase for the five-year perio¢J to December 2026. 5. CHISENHALE GALLERY Idyll Ravelle Plllay 24 February-23 April 2023 Opened.. Thursday 23 February 2023 Exhibitr"on audience figures-. 2287 Talks, local and schools programme partrcipatfion: 437 Idyll- a peaceful or picturesque Scene, typically idealised- was the title of Johannesburg-based artist Ravelle Pillay's first UK 5010 exhibition. Eight new oil painDngs on canvas, ranging from near life-size to smaller. port.als. ale hung aloAgside è series ef Intlian iHk dcawings tran$1u¢.ent acetste. Connecting sites of enduring personal interest to the tsllibility of memory, Idyll continued the artist's reflections on how we remember- history, places and people. Working primariEy in p3intin& Pillavs pTrctice evolves from a personal process of archivin& drawin8 equally from family photographs and found imagery to map life-making In the wake of m355 migration. As 3 descendent of Indian indentured work£rs-. a system of contratted servitude, by which Indians were transported to European colonies for labour, following the abolition of slavery in the 19th century- Pjll*s paintings are haunted by a personal re13tionship to legacies of colonialism and migration. Idyll marked the first commission in the gallerfs Cornmissions Programme for 2023-24. which includes our current exhibition by Lotus Laurie Kan812 JUTr30 July 20231 and forthcoming commrssions by BenoiTr Piéron115 September~12 November 20231 and Alia Farid11 December 20234 February 20241. This marked Pillay's first largE-scJle 5010 exhibition. and first presentation in the UK. The exhibition included eight new paintings, all oil on canvas. and len new drawings made with Indian ink on translucent acetate. The paintings were produced in London. during Pillay's Gasworks residency and while sublethng a studio at Chtsenhale Studios, above the gallery. The drawings were made back in Johannesbufg. illay worked with Curator Olivia Aherne on an installatson that consisted of painthngs hung on the walls, pèintin85 hung suspended from wire150metimes back to backl and drawings installed away from the wall using riK15 and rnagnets. This encouraged an overlapping of imagery. different sightlines and shadows. and new relafional readings of Pillty's works with every encounter. In Cascode5 Lotus L. Kang 2 June 2023 - 30 July 2023 Opening= Thursday l June 2023, 6.30- 8.30pm
Exhibition audience tigures-. 2007 Talks, local and schcwjls programme pariicipation: 61)4 Lotus L. Kartg's artworks evolve with ttme. WorkTrn8 across sculpture. photogrèphy. installation nd drawin& the artist uses her acute sensitivity to process and site to reflert on bodies, identities, memories, and histories. For Kang's first institutional solo exhrbition in Europe. In Cascades reorganised the spaces and fissures of Chisenhale Gallery. asking what is passed down and what is lost as V move through the wortd? At the centre of the exhibition. ten industri31 Steel joists were suspended from the gallery's ceiling. Echoing the lotus root- a recurring motif in Kang's prathce- the joists contained cavitre5 that enhance their strength- a generattve absence through which Kang's commission materialised. Through close attention to rnaterial, site,. and proce55, Kang's commission slipped between what is seen and what is felt. what is bundant and what is knst. continually imprinting upon us the recurring question.. what sticks and what falls awa¥. Lotus Laurie Kan8 {LLKI is a Canadran artist living and working in Toronto. Recent exhibitions include Molt (New York-Lethbridge-Los Angeles-Toronto-Chica801, Museum of Contemporary Art Chicago. Chicago and Mother Always Has a Mother. Mercer Union SPACE, Toronto Iboth 2023}. Pler work wa5 also included in Soft Water Hard Stone at New Museum. New York in 2021. In 2022 Kang was the inaugural TÈsldent of Horizon Art Foundatlon, Los Angeles and also in residence at Triangle Arts Association, New York where, alongside wider research, she commenced work on her Chisenhale Gallery commission. The proiert was co-commissioned with Contemporary Art Gallery ICAG). Vancouver, where the exhibition opened on 28 September 2023 and runs until 7 January 2024. Following her Chisenhale Gallery exhibition. LLK has received multiple invitaDons from institutlons and galleries to develop new projects including an invitation to participate in the ext Whitney Biennial which will open in March 2024 Iconfidentiall. The accompanying pubJicaDon, co-tommissioned by CAG. Vancouver was published by Hurtwood Pres5 and released in July 2023 (see further detsils in Publishin8 Report below). Slumber Party Benoli Piéron 15 Septernber-12 November 2023 Openetll Thursday 14 September 2023 Exhibitfion audiencÈ figuS= 1758 Ilndudine 93 from visltor groups) Talks, local and schools programme participats"on= 604 A srnaii stuffed b'at perch.ed on ClitseAhale Galler5 fronTr dèsk- shé issued a la1th welcome on behalf of the artist. An enchanting incarnation of illness, Monique si£nposts a material language that threads through Benof( Piéron's practicè. Slumbw Party- Piéron's first solo exhibition in the UK- applied a vital softness to the harsh uncertaintie5 of life and death, and supplants the often distressing. stale and clinical atmosphere of hospf(a15 Wlth a sense of possibility and renewed imaBinarion. Cotton Sheets that Dntè" lined hospital bed5 111 the UK and France were stitched tosether to create an expansive patchwork canopy. Traces of hospitalised bodies- faded secretions and stains- sttched across the gallery. craftin8 a collective corpus of matter and memories. and revealing beauty in the discarded. 12
Linked to the ts.mes Pkeron has Spent in hospitals. throughout his childhood and later lrfe, the space became a refuge and a portal through whtch to journey into other realities- dréaniscape that is also a iiieans of suwival. Slumber Party marked Piéron's first large4cale solo exhibition and commission in the UK and exploied illness and halluonatlon as spaces of p055ibility and abundance. The exhlbltlon began at thy frvnt uf house desL wkh a stuffed bat rftlèd Molllta. The gallery installation featured a large patthwork tablecloth, an¢horÈd by a large tulip wood table leg. and was topped with 8 red pincushion. Along the gallery floor, a new work ts.tled Radical Softness was displayed- a series of emergency lights veiled by pastel- SPfOyed domes, each Pfogrammed to stow down and gerttly dim over the course of each day. The fabrication of this commission was supported by Aneeka Makwhna, Christopher Maclnnes and Charles Stanton-jones. Other People's Sculpture. and Coppermill Ltd. The project's lead 5UPPOrter was Fondation Pernod Ricard, with headline support from Fluxus Art Projects. An accomparying publtcan"on. and the artist's first book. was co-published with Mousse and launched in November 2.023 (further detsrts in Publishing section below). Etsewhere Alla Farld l December 20234 February 2024 Opening.. 30 November 2023 Exhibition audience figures.. 1.994 Talks, local and schools programme participation: 338 Elsewhere was a major commission and the first solo exhibltion in the UK by Alia Farid. Working in film. sculpture, artd tekn"le, Farid traces histories often marginalised or obscured by the Global North. IA her artWO"Fks. MMUnitieS, loeal prdctices. aAd trnditioAS are reconsidered, giving the rhythms of everyday life political significance and potency. Sixteen hand-woven and embroidered rugs span the length of the gallery. Drawing from photogrgphg, archival materi81. and interviews with lool people. the works detail citysC8pe$ buildings, shop fronts, and adverts- that conjure the presence of the Palestinian diaspora in Puerto Rico. Pharmacies and restaurants. owned and operated by Paleskn"nians. are woven alongside brightly coloured mosques and a menu detailing Arabic cuisine.. The eommlsslon delved into the under-told htstories of Arab and South Asian mlgration to Laiin America and the Caribbean. specifically a Palestinian diaspora in Puerto Rico. Fari(i was nominated for the Arte5 Mundi 10 and the Nam Jvne Paik Awafd 2023 Jnd is the recipient of The Lise Wilhelmsen Art Award 2023. Her ongoing research project. Migration of Forms. received the 2022 Creative Caprtal Award. The commission delves into the under-told historie5 of Arab and South Asian migration to Latin America and the Caribbean. specthcalfy a Palestr"nian diaspora in Puerto Rico. The exhibition included 16 textile works- rugs and blankets from Iraq which have been embroidered with a range of vis1 imagery by weavers fvom Samawa.
This has been achieved by engaging with the various diaspora Communities xross Puerto Rico and invitinB them to photograph their places of public gathering or spaces where part of their identity and heritage is formed and sustsined. fhe photographs subsequenily travelled to workshops in Samawa where Alia worked with weavers. using the photographs as a point of departure. The commission brought seemingly disparate sites in relion to each other. creating a trans-regionalism that challenges national boundaries. The Missing O and E Joshua Leon 23 February-21 April 2024 Opening.. 22 February 2024 Exhibition audience figures-. 1,688 las of and including 18 April 2024) Talks. local. and schools programme participation: 148 las of and including 18 April 20241 The Missing O ¢ind E was a new commission and solo presentatfjon by London-based artist. poet. and writerjoshua Leon. Leon's text-led processes produce artworks ènd exhibitions that bind memoir with historical research. Spanning Sculptu and sound. the instsllatr.on traced a collapsing ot personal memory and historical record to offer a nuanced exploration of Jewish life. Three letters- C H N- are visible from nearby on Grove Road. Inlaid into the side of Chisenhale's building in c. 1940. Leon's exhibitlon tends to this sign. to reveal an otherwise ellipsed history. Two, rx)ssibly missing, letters- an O and an E- have been stained into the Eallery's windows. Like a forrn of annotation. the last name of the building's former owner. Morris Cohen. is restored onto the building's surface, returning a forgotten history to the site. Interpreting instances in which e)nes fiarne fflight be erased, trnn5fefmed. ef deliber8tely withdrgwn, The Missing O and E feco8nise5 rnisnomers, codes, and ellipses as both socially imposed and politically intention31. A single speaker emits the second 011 part from Edward Elgar's Enigma Variarions, a composition played by Leon's grnndfather while in the London Philharmonic Orchestra in the 1950s. By isolating a single instrument. Leon amplifies one volte, otherwise c.oncealed in the Ca£phOnY of the orc.hestra. Two'f, shaped veneered benches evoke the holes on a violin- amplification device5 that become svpport structures for listening. As the piece oscillates between sound and silence. wsitors are invited to listen to which voices can and cannot be heard. Joshua Leon is a port writer and visual artist living and working in London. Recent exhibitsons include= Rewsion, PEER Gallery. London120221- POST, Barbican, London 120221,. Expo in a Box, Frac Lorraine. Metz120221 Governmental Fires, FUTUIiA, Prague (20211,. Loose Route5 Along the Familiar, Madonna del Pozzo. 5poleto120211.' Attendance{sl Close to the Close. Daily Pia"ctice, Rotterdarn120201: Taking lamenlatson as a space of critical on£aEement his text-led protesse5 pro¢.uce exhibition5 and performances that bind memoir with historical research. Spanning sculpture and sound, Leon's new installation tTace5 a collapsing of memories and histories to offer a nuanced exploration of Jewish identity. where absence and ellbpses tran5ion from 50cialty imposed to politically intenfjonal. A series of music programmes that trace Leon's grandfatherf.s involvement wilh the London Philharmonic Orchesifa. reveal a simultaneous history of misnaming and subsequent name change. 14
Developed alongside the commi55ion. Leon's first publication, The Process. launched at the gallery on 4 April. The outcome of two years of writing and docurnentr.ng his own researth processes, the publication comprises original writing by Leoft alongside archlval mateflal. Publishing As we develop and reffne our publishing worl we also conts'nue exploratory conversatsons with potential 2024 publishing partners. Chief consideration5 are ey.anding distribution. value-forrfnonev and mission alignment. Ayo Akingbade Ico-published wlth Book Works) Interspersed with images spanning film stills, archival material, textil and research photographs taken during Akingbade's travels through Nigeria, the publication also provldes an insight into the making of the commission. Contributors include Lag05-based writer Maryam Kazeem. poet Gboye8aD Odubanjo, curator Steven Cairns and arts.st Okwui Okpokwasili. The book is desiEned by Maeve Redmond. Akingbade's publication was launched to coincide with the end of the exhibition at John Hansard Gallery. Southampton. and before tt went onto BALTIC Gateshead. Lotus Laurie Kang (published by Hurt¥vood Pre551 Chisenhale Gallery. CAG. Vancouver and Hurtwood Press co-published Kan<s first artist's book. Featuring snapshots of works in progress. as well a5 a new series of photo8raphs by Kan8, the publication share5 fragments of the commission and the ongolng processes that shape it. Contributors intlude poet and èrtist CA Conrad, writer Estelle Hoy and curator Victoria Sung. alongside a curatorial essay by Associate Curator Amy Jones and a foreword co-authored by 20é and CAG Director Matthew Hyland. The book is designed by Kristin Metho. Kang's publication is due to launch on 27 July 2023 to coincide wtth the fi.nal weeks of her cornmission at Chisenhale Gallery with a reading by CA Conrad. BenoR Piéron (published by Mousse) Marking a new publishing partnership. we worked with Mousse on the development and distribution of 8enoit Piéron's first book. The book takes the idea of the 'wath"n8 room ma8azine' as its formal starting point. It included written and visual contributions from Benoli Pbéron. alongside essay5 and uniquely. a series of 'a¢tiwties' for the reader created by commissioned artists which speak to the ideas and n¥ieties of the waiting room. The book launched in November 2023, at the end of Benoit fv"éron's Chisenhale Gallery exhibition. 5ocialpracti 2.8 Million Minds= 15
Chisenhale Gallery has been a leading partner on 2_8 Million Mlnds (so-called because there are 2.8 million young people in Greater London). an arts. young people, and mental health program supported by the Mayor of London and the Baring Foundation. The purpose of 2.8 Million Minds was to pilot project5 bringing artists and young people 5trug8lin8 With their mental health together and Cfeate 8 new body of research eXOrIng good prèetice in the field. with a view to informing poliry in local go¥emment in the years to come. The project has taken place in two phases. The second phase of 2.8 Million Minds beean in earnest in February 2023. With mc*nentum behind the projett. and a network of unique relaiionships established between Chisenhale Gallery and local mental health seNIS. charities, secondary schools. youth centres, and oèrer networks. 35 young people across Tower Hamlets were recruited. 40 more young people were on a waiting list to join should capacity become available. This year, the focus was twofold. How to support a larger group while addressing the complex individual needs of parfjcipants? How to begin handing over some of the responsibilities for the shape and direction of the project to the young artists? Meet5ng fortnightly over a period of 6 months in a community hall in Bethnal Green, the project wa5 expertly led by the vacuum cleaner alongside multidisciplinary arDSt Cecilia Wee and poet and curator Amina Jama. Whereas the first phase of 2.8 Million Minds foajssed on the parkncular art forms of the lead artists- e.g. a photography project led by Becky Warnock and a textiles projec.t led by Tyreis Holder- there w85 a signific.ant shift in this phase to¥¥ards peer-led working. Young people were encouraged to form Working groups around their interest5 and skills. The fi.nal sharing. on 12 August at Whitechapel Gallery (Gallery 21, featured a 'v3riety show. of performances. poetry. film. music, and illustration. which. despite its mulDfarious nature. carried a coherent message (audience of 150 across two events). That . young people in London going through similar strugeles need more spaces like 2.8 Million Minds. spaces where they can be themselves. where they don't have to make a case for additr.onal support, and where they can find a sense of collective purpose Witho losing their individual voices. Truly experimental in nature. this complex project mirrored the diversity of Tower Hamlets. a borough with a high propjrtion of young people from Global majority backgrounds. A full evaluation of the project is Current ongoing. led by the gallery. We feel that the burgeoning peer-led potenifjal of this second phase speaks particularly strongly to the Culture House methodolo8¥. which origrnated in Finland. Having engaged the founder of the movement. Markus Raivio in conversation over the last few months we are enthu5ia5ticalty adY to learn more from this approach. adapt it to some of our ways of woTkin& and explore waysto apply tt as a formal development of our ongiNng work in 2024. Summer olArt With funding from Action for Bow, we collaborated again with Chtsenhale Studios and Chisenhale Dance Space to deliver 3 community arts programme across our organisaDons and festival on Chtsenhale Road, and was our biggest and best yet. C.hisenhale Gallery led on the rnanagement and production.of the progrnmme. with a foc.us this vear on ywth voice. vrkIng with YP in the local area who expethence real material barriers to accessing art and culture. 16
Edwin Mingard developed a project with stsff and students at london East Altemaiive Provision. pupil ieferial unit 10 minutes from the gallery. while artist Renata Minoldo is worked with group of children in KS2 at Chisenhale Primary. who the school believe could especially benefit from an arts-ba5ed intervention. We worked with 9 artists across three weeks in July and August on a public programme, before festival celebratinB the artworks created over the summer on Saturday 16 September. featuring performances. music and workshops. 62% of attendees had not visited our in51Ft" uiions before- we were reathing people for the first time. 1178 people parb"cipated in the summer of art this year, whith featured 25 artists, l exhibition celebrating Ioc31 young people's worl and l arts festival bringing different communities together from across Bow. 50% of attendees who attended our public programme and festival and replied to our surveys live in Bow, 21% in nei8hbouring ward5 in Tower Hamlets-we were en6aging hyper-local audiences. creating a deeper sense of connetDOn between our instr"tutions and neighbourhood. Schoolprojects We ran taster workshops wryth 180 students at Mulberry khool for Girls alongside artist Opashona Ghosh lof 8aesianz. a collective that celebrates London-based ariists of Asian heritage) with a view to initiating a more ambitious project next ypar. This follows an ovenvhelming response from students at Mulberry to parts"cipate in the current 2.8 Million Minds project. All 400 students and staff at Chisenhale Primary School have been working wrth musicians Richard Jones (Ligets" Quartet), Koichi Yamanoha16rimm G"rimml and Frances Lobo (Deep throat Choir) responding to Laurie Kan¢5 exhibition. Just as Lotus Laurie Kang'5 In C35cades represented layer5 of embodied history in suspended screens of photographic film, the groups have similarly explored how we can hold layers ol memory together in a series of new pieces for voice5. viola and tape Ip$- 50nic moments suspended in time. The project will culminate in a mixtape and short film. 6. CHISENHALE DANCE SPACE (CDS) The year 23-24 saw the launch of a ne¥Ay reimagined artist4ed model for CDS which paved the way for 3 Series of new programrnes, Partnerships & opportunities to support CDS in its continued transformation post-covid. A summary of 23-24 at CDS: Lounch of 'CDS Artist C(ynmunity' A newly imagined"'CDS Artist Community, mod.el was conceived" and launched. moving away from the organisakn"on's former'membership. model. The new model seeks to= Clarify responsibilitfe5. beneh"ts, and ways of participats.ng for artists o Expand participation of Global Majority, disabled, and neurodivergent artists o sha resources more equitably and sustainab Continue developing functional decision-making processes that centres artists After a well-received launch in July 2023 and public recruitment process which saw 320 pplications. the CDS Artist Community now composes of artists who identify a5: 17
0 70% di5abled/neurodiverse or Global Majority Heritage. SO% disabledlneurodiverse. 40% Global Maiority Heritage112% BlacVMi¥ed, 20% Asian), 50% queerlLGBTQI+. 20% translnon-binary. 30% workn'ng class. 50% early career, 30% regionalfy based Ispre3d auoss UK wstcodes). o Activators: 60 core artists key to decision makin& I(% hlentify a5 disabled. neurodivergent, 2nd/or Global Majority Heritsge o Collaborators.. 140 artists who play a supporting role. but still receive the benefits of being part of the community. Public Progrommes EDS launched a series of new ath"st-led public programmes inc.luding'. o Thursday5'. Free weekty events prornoting OIY. low-stakes en8èEement led bv artlsts for arttsts. Cultivating Connertions: Monthty events for marginalised artists in partnership with Poplar Union to develop their creativity and form community. Artist Community Support Initk7tives CDS also facilitated speufiG internal sUPPOrt proerammes for its 21J) strong cofflmunity of arknsts including: o Mental Health First Aid IMHFA) trnining for 16 èrtf5ts to support the well-being of the freelance dance sector o suggeskn.ons Box.. An online process for a"Sts to submit idea5 and feedback. rewewed quarterly by the Arllst Committee o Arts Counselling= A monthly advice session hehl by CDS staff foT artis15 to receive support with fundrarsing applicats"on5 and personal development Greenhouse Programme= Support for 8 marginalised artists to develop new ideas o Artist Community l Athvator Gatherings= Regular events for artfsts to input into decision-making and shaping the New SectorPortnerships CDS initiated a series of new sector partnerships to support artists including: EN8 x CDS Incubator Weekender= A paid incubator weekend with English Nats"onal 83llet for choreographers and dance artists. BABEL Partnership.. Hosted several weeklong artist and skill development residencies, includTrng a sold-out intensive. WEGROW 360 Partnership: Monthly upskilling events for dancers led by industry profe55ionals-. QMU Library Inductions: Partnership with Queen Mary University to provide library acces5 to a¥ts"sts. Affordable Studio 5pacef0rASts CDS. launche¢J 3 new'last-minute. space hire model with prices as low as £10 per hour to support artists and through implementation of a new strategy and increased investment in the studio spaces- achie¥ed income 01 £96.125 from studro hire. CDS seek5 to build on this success moving forwards.
lotal Eng(wement in Tower Humlets CDS worked in partnership with Chrsenhale Studios and Chisenhale Gallery to deliver our annual summer festfjval- reshaping the programme into the 'Future Artists, programme. Overall, 1178 young people attended across all programmes and projects. wtth s people alone on the festi1 dav. Governonte Clara Giraud left the board in Dec 2023 after serving as Chair since 2018- Steven Brett became interim co-chair. leading the search for new trustees to support Ct)S in its transformation moving forward5. CDS continued to build on its Artfjst Cornmittee model working wrth artists including Alice Tatge, Valerie Ebuwa. Zjana Muraro, Claudia Palazzo. Joe Funnel IleftJan 2024}, Max Percy & So'l Jelenke (joined Jan 20241. heir responsibilitles have included develop new Artist"eommunity roles, contribute to recrvitment, selection, and evBluation processes, working on antfracism and antl-ableism commitments and propose new communication channels and community initiatives. Finance & Fundroising Fundraising accounted for 50% of CDS'S total turnover this year and earned income frorn space hire repSenting 42% of their totsl turnover. CDS secured a total of É116.943 from funders including Arts Council England. Backstage Trust, Al)derahim Crickmay Charitable Settlement. Leche Trust. Artion for Bow. Fenton Arts Trust & London Borough of Tower Harnlets. This repsents 3 48% of their requested funds-a strong success rate in.what has been a . challenging climate for arts organisat6ons. 7. Risk Management Review On a regular basis. Trustees actively review the operational and business risks which the chartty faces and believe that maintaining financial reserves at current levels, combined with an annual review of the Eontrols OVèF linancial system&. will mits.gate th.èse fisks. CuFreritly Idèntified higkiest, lèvel of.. concern are: RISK The current leèse, with London 8orough of Tower Hamlets. expires in 2031. MITIGATIONS SecurifTrg the long-term fLrture of the organisation is central to our planning. The risksloutcomes are.. As we enter the last 7 years of our lease, engagement with our landlor(l is increased, to establish a shared sust3inable outtome for the premises that we use a5 well as the LEnoccupied derelict area. l) Loss of the building and all organisations have to leave building. 21 A furthershOrt lease with no investriient in the building A proposal has been submitted to develop the site with potential partner Creative Land Trust. and a feasibility study has been yndortakon with support from GLA. 31 Renewed lease with significantly higher rent.
Advocary with GLA. ACE and others has commenced to ratse profile of 51tuation and risk. Regular checkryins take place with members and trustees within a two-year framework to progress by Spring 2025. That one, er both, of the IAember Organi5Btlons either becorne incapable of paying their 5ub- leases or choose to leave the Company. Each member organi5ation contributes approximately 15% of the running costs. Working fr3mew6ik is fiew in place foi fegulAr communication between.. Ilchairs &Executive D1CtOrS. 21 ED'S on more operational matters. The risk of a shortfall in funds associated with our member organisations has now changed in charatter as both are more dependent on gfant incOFne for current sustainability. A scopin8 Study of alternative uses of spaces is planned, in the event that members leave before the end of the existing headlease. This risk of findin8 alternatl¥e tenants also increases over time due to the aging of the premises makinE them less attractive. The overall condition of the exteriof fabric of the two bubldings continues to deteriorate o¥er time. Strategy has been one of only undertaking essential, non-improving repairs and C05ts are included in annual budgets. This will be reviewed following a Planned Preventative Maintenance report. IncreasiTrg maintenance and repairs to ensure Hezlth & Safety could become unaffordable to the organisation. A PPM report has been £ommi55inned tLI help identify future requlrements and associated costs that could be discussed with landlord. Increasing the quality of the building's structure through aggressive maintenance poses the prospect of intreased rent from our landlords with accompanying hardships to our Members. The plan to secure a long-term future for the building lin-perpetuity lease or asset transfer) would resofve this issue with the plan for a caprtsl build tatsfjpai8n. Robust reser¥e5 to be maintained rf landlord is unlikely to invest in upkeep of building., INVESTMENT POWERS The charity has no significant investments other than cash on deposit. Under the arkncles and memornndum. the trustees have the power to invest in anything the trustees wish. ASSETS The Cornpany has no undepreciated fixed assets as shown in Note 12 to the accounts.
RESERVES The financial reserve poliry is to stfTve to.keep twelve month's expenditure. This is reviewed annually by the Tnjstees in line with gwd practice. as suggested by the Charities Cofvf•is£ion. AUDITORSThe annual turnover of Chisenhale Art Pla is approximalely £350.CM)O which does not quire a full audit. under sectbon 145 of the Charitres Act 2011. In 2018 Andrew Wells at CountercultLTrre LLP w35 appointed by Trustees, to prepare the Annu81 Accounts &nd undertake the future Independent Examinations. This appointment was reconfi'rmed atthe AGM December 2022. PU8LIC BENEFIT In shaping the Charity. the trustees have considered the Charity"Commissions Guidance Section 4 Charities Act 2006 on public benefit. This r.èport has been PFèpared IA accori4arico viith the priivisions i3f Sei*iiin 419121 of the Cèft4i?aniés Art 2006 applicable to companies subject to the small companies regime. This report was approved by the board on and signed on its behalfbv Andrew James Rivers Wakelin 16th December 2024 Secretary 21
Chisenhale Art Place Ltd Independent Examiner5 Report to the Trustees For the year ended 31 March 2024 I reporl to the tru5tee5 on ry exanwokn ofihe acc(nts ofthe ch•lth coywary for the yèar ended 31 Marth 2024. Respon8lbllltle8 and basis of report A8 the charity Trustees. who are 8150 dectorS kn the of cryrpary l, are respyw.ble for the preparation ol Ihe accoynts in wdenCe wfth Ihe requireThrt ofthe coryar¢S Act 2006 Dhe W. Hawr¥J 5atYsfied that the accourts of the Cryrp3rry we not rewwed to be audrted under P•t 16of the 2¢XJ6Acl and e e1vJib for independenl exarinabw. I rerwxt in re5ped cl ry exarmatw your chaitys accounts canied out under section 145 of the Charitses Aci 2011 llhe 2011 Adl. In Gawrwng rny exaMwwts I have the Oirection5 given by Ihe Charity CLYnrni55ion under5ectK)n 14515llbl olthe 2011 In¢ptht•nt x•mlDeYs si•teiiiwrt the Chaiitatjle eLWry'S 0$S inctyTrE exceeded £250.(. 5ul e¥2r bp a men¥ ol 8 body listed in sec'on 145of Ihe 2011 Ad. I confirni Ihat l am qualrfd to ertake the ty wrtue of my m¢mbethip ol Association ofAccounting Technan5. YthKh Trs one the rne cause lo beheve tst in arry rn1 respecl.. 1. actA)unling fecorfs wete noi keo in pect of fv Conv¥ as seclion 386 oflhe 2L6 Ad. 2. Ihe (Jnts do Thot accord th those recorfs: or 3. the 0nts do Thjt Q)Try)ty with the requ¥ewnts of sec 396 of Ihe 2rx6 Aci olher Ihan any rUireNnlththe aeeounls give a Irue and fair whi¢h L% not a nwtter cons#1ered as of w indepeTrknt examina(n., or 4. the &tounts have tKI teen prepared in anCe ih the nlhrxls pnnciples ofthe Statenwt of RecomnKnded Practice for 8¢rx)unting and fern9 by chWit5 aP"Cthe to chathes wepanry Ihtrxc(wnts in with the Financial Reporbng Stsndard appIable in Ihe UK and RepULl of Ireland IFRS 1021. I have no Concerns and have ¢oThe arxoss m other rnatte in connection wilh the examiftkn.cm to which attentrjn should be dIn in thi$ reF#yI In cfd¢r to enable a underS1ar1ny olVE xcounts lo t aChed. 16th t*cember2024 diew M We115 FMAAT Counterculbjre Partnership LLP Bank Charnber5, Main Street "awe5 Norlh Yothshire DL8 3QL
Chisenhale Art Place Ltd Slatement of Financlal Activities lincluding Income and Expenditure Accounti Fof the year ended 31 March 2024 2024 2023 lund¥ fvnd% Income endonei$ fr¢rn: DonatKffjs legacies Charitatlg admti Investrnent5 Other Intcmè 4,080 4.080 280.426 38.532 311.374 2.426 Total 4.080 286.469 Exppndlure on: Charrtatle ath'vities 1281,5111 1281.511) 128,8871 128.OB71 1310.3981 1310.3981 1291.5741 1291A74) Total Net incomelexpenditiiie Recw.cll!aifn offuftds Totsl fijnds brought fon¥ard Total fvnds cani•d lonv•rd (1211 IXé071 1S.020 26.148 408.502 383,573 313.482 408.502 382.232
016159Y) As at 31 Marth 2024 Oebtty5 Cash at bank aryy hi hMI 13 58.637 3412B1 $2.754 374.163 4X,917 (18,4151 14 (16.4451 Il•t cumint J.57) W.S7J 401902 400.5•2 JB3J7J Th• fvnd¥ ofll¢h¥lty R05tr1(Sod Ura$iiid•d irKorn• Iw 15 15 1.341 382.T32 26.148 T•t•l fvThd Fcf Ihe year eThJ8d 31 IAarr 2024 tompany ¥As erwthd bj exwrplm from athl LY#ler 47Tot the coffprts th sedion478, Lucy Kennedy 16th O¢¢ember 2024
Chisenhale Art Place Ltd Notes to the Financial Statements For the year ended 31 March 2024 1. Ac¢ounlin9 Poli¢ie8 80815 of a¢covntlng The finanoal statements Iwe been FYep underthe hIS1Cal c05t cLent, except kn inve5trnerts are vKluded at market vatue and Ihe reVLIati¢ of rtain fixed a55et5 d in accordance ¥th Ihe Charities SORP IFRS 1021'Accounthng and Repcrfting ity Charitses". Statemert 0fReCn•Trded Prxtice applicable io preparing thr account5 in accordance with the Financi Rep(xtyng Standard aWAKab in Ihe UK RepU1C of Ireland IFRS 1021 leffecbve 1 January 20191.. Finarwl Rep)rti Standard 102 Ihe FinawKial Rq>ytswJ stdd appltsble in Ihe UK and Repu1¢ of Iteland IFRS I21, and the C¢mpantes Act 2c. Chisenhale Art Plw£ Ltd rneets Ihe definilbjn ola tenefil erty under FRS 102. Assds and lia1mfeS are fétogiilsèd at h.kstoiI eèst crf. traiisactson Val unkss Othe.L staléd M the rèlévgnt acebj'ntifig Fility' riolèlll. Golng eon¢em Thefinancial atements are prered, thi a wrrfJ Conc basi%, je1 Ihe histryilal cost . Incoming re%yJrces l incoming resouTCU are irttuded in Ihe aternait ¢Mfinax?al actmtss then the Chatty is entrfle¢J to the inco can be quanth.fied wth $£•ble VracY. the eIpendrtU. Allo¢•tl¢4n •nd •ppolnlment of costs Support eosts are those lunctKJrts Ih81 assBt rlthe ch•1 Ixrt th) not undertake eh•itth •th"wt. Support $t9 may indude any bxk offKt CO#s, finance, perscmnd, payYoH and goyemarte costs sutwlthe arilies progr3rnmes and aclivities. These ¢9St¥ have ten dwted betreefi cost of rajsry funds and expendrture on charitae activitie5 where apph"cable. The bases SVPFXIrt C ha¥e been dlocated we Sel Out in Ihe note5 10 the acco1$. T•x•tlo A5 a registered Charity. the COnTpany is exerno from incsTh ar¥J (wx)rats"cn lax to the extenl that its ints)rre and gains a appliCae lo chartsble purpgses onty. ve Added Tax is not re¢o¥erth bylhe ¢oms>any, and ts theref Induded in relevart costs in the of Fala1 Adm15. Tanglble fixed a68•ts Tan9ible fixed assets, otherlhan frEehdd land, slated at cost orvahjatiw less lepreci8ti.on and ary pro¥TSton fr¥r iryainnent. DewecHtion is ¥thd at fate$ Cataj lo *rte off the cost or v8htIOn offixed assets. le55 the Oporaling l¢asts Costs Ofoper4ng 8$e$ afe charged lo the StalenEnl of Adivibes on a strawJtrrt4ine bas overthe lease temi. 2. In¢tsm¢lMm dohatlons and l•gaci•s 2024 2023 Restricted fund# Grants received 4.080 38,532 a881 25
Chisenhale Art Place Ltd Notes to the Financial Statements Continued For the year ended 31 March 2024 Analy• of grants recefved 2024 2023 Ats Counul Englanil 4.080 4080 3. Ineom• Irorn chaiilable acli¥ili•s Adv8nceft7ent of the Arts Licenee fees reCeable 262,392 296.525 6.725 8,124 311.374 Edwati¢)n81 bvit*s Ltpht and heat 10.871 2UOA26 280A26 311,374 4. Invtslrnent inrome 2024 2023 Urntricted funds Bank interesl re1¥able 332 332 5. Olher In¢•me 2024 Locd Authority Reb8te a8.3$6
Chisenhale Art Place Lld Notes to thè Financial Statements Cont6nued For the year ended 31 March 2024 fj. Goots of ¢harttable activiti ty fund typo Athancement ofthe Arts 198,265 28.887 227.152 963 213,366 783 Open Studios Support costs 82.283 82.283 77.425 281,511 28,887 310A Z91.574 7. Costs ot ¢harlt•ble •cV¥llles by •¢ll¥ity type Support 2024 undert•k¢n pport cos18 A¢fv8rk¢ernent ofthe Arts 227.152 82.283 309.435 963 290.791 783 Cpen Stud# n8.115 82.203 310,351 291.$74 . An•lDi& of support¢OSt8 2024 2023 Advancement of the Art8 ManagerrEnt 72,933 9.350 69,588 7,837 82,283 77A25 g. Net In¢omgll•xp•ndlluY¢l lorlhe y¢4r Tlu"s is stated aftef chargin(eiry1: 202i AccntaI fees Slaff pens#)n contritic0S 1.650 1.122 5,082
Chisenhal• Art Place Ltd otes to the Financial Statements Contin1 For the yoar ond.gd J1 March 2Q24 10. Slafi eosty and emolmnts staff costs lor theye8reThJed 31 Marth 2WL4 wwe.. 2021 Salaries aThd w•Je$ Penwon c4$1$ 41753 1,122 46.524 5.082 43mS 51.606 20 2023 Adftwnisiration Tkts tota5 eFRpltyee beRefft8 irth4kig pensk)n aartL)S olthe key pOAn01Wefv £42.172 12m".rJ8.9581. o enyloyees reCeId remJnaalthi ffj exc4ss 01£60.CIJO in the rI2023." £n61. 11. TNst•• remuner•iion rt¢d party ¢lln$ The charityllustees Te not paKI or ret¥ed awry other benefft8 from erTyk7fftntwth Ihe charity in the ¥2023£nI). ) charity truslee rec¢Neil payment for professwal or rther SUFvled bj the chawity {2023."tnill. The tru51ees all givè fre&¥ tsr tsme exptrffjse Wrt any fLwm oroth¥tenefrt in tash or kind12023'.£nli l. Trustee¥ expenses represents the paynw or reimt oftravd s*StenCe tosts totalling £r412023..£nS11.
Chisenhale Art Place Ltd Notes to the Financial Ststements Continued For the year ended 31 March 2024 12. Gornparati¥e forthe Sialemenl of FInCHI Acthfllles R•8trfetod lund$ 2023 Income And endowmtnts fr Donats.S anta legaue$ Charilable xlivgtios Inve$ln*nts Cther incsme 38,532 38.532 311,374 311.374 332 36.356 Total 34882 38,532 386,594 Expendlium on: Chartsble &liwties Tot•1 1271.0381 1271.0381 120,5361 120,5361 1291,5741 1291.S741 Net incorne 77m4 17.996 95.020 Re¢onGili•llon of luftds Totsl fLmds brought luward Tolal fvnds e4nl•d fonva 305.330 382.354 8.152 26.148 313.482 408,502 13. Debtorn 2024 2023 Afflounts due within on• y•ar. Tt¥Oe O¥tittst4 3,367 55,270 2.618 9),138 58.637 52,754 14. Creditor5: amounts falllng y 2023 Tth creditors Ollièl.elédltOFé Arual8 and delerfed Inc 1,807 11.559 3.079 16,765 1.650 16,445 18.415
Chisenhale Art Place.Ltd Notes to the Financial Statements Continued For the year ended 31 March 2024 1& M¢>vom•nl in lund8 IncomlrvJ 0110412023 v•8ou Otying TMMfev8 8alanc• at 3110312024 . Q8signat8d Lorth71 Aulhsyts Rot•tg Fvnd (34.7231 1.633 BL4klir4Js fvnd Educ3*'on flmd 40,5CQ 21.79¢ 281704 40.500 27.631 312,468 7.183 274.226 11.3261 {280.185} ral 34,723 382,354 291,389 1281.S111 3B2.232 Unrestrlcted Funds- PrevSoy¥ y• ¢(ffiSn9 Transfws Balan * 2022 Denred Local AulhNity Rebate Fund 36.356 ihlings fvrKI Educatson knd 40.500 40.5CA) 21.794 ?&a.?o4. 19.592 6.725 14.5231 126Q.?151 140.5001 348,062 382.384
Chisenhale Art Place Ltd Notes to the Financial Statements Continufjd For the year ended 31 March 2024 Retéts from lan(Rord LsJTh 8crtou of Tow Hts ts Ihw rerrt thrir#J the COVIO A hJing6 fijnd Th? purpjse of thi8 fund 15 for pLqnned eXpdrt reknted k) trl&Jing thaiwere i11 lyjt not Cle at 31st march 2023 ptvs works lo t siarted in 202&202S. Educab"on fund This lund hc4ds monies degnated loreducth)nal puffj4)ses. Gerwal Monies can be by the Trusleeslo furthwts obpves olthe ch¥ity. Restri& Fund$ •t IncomlTrg Igolng r•sourG•S Balance at 3110024 Edu¢th"on fijn 28.148 128,887) 1.341 26,148 4.080 {2&887) 1.341 kntrickni Fun¢i8. Pr•vkn8 y•ar 8al•nc• at Imgoing B•l•n¢e •t res088 T01¢05 3110312023 Educats"on fund 8.152 38.532 120.5361 26.148 1.152 38.532 120,3361 26,148 Ethcation tund Fund5 are hekj for use in educati81 x1jvrt. Energy lund The energy fijnd isforthe inyovenEnt of the enegry eff•ii¢y olthe bjthjing. 31
Chisenhale Art Place Ltd Notes to the Financial Ststements Continued For the year ended 31 March 2024 16. Anal9 ofn¢t as$•ts lthen funds Ilet tuwrÈnt IletAs$8ts as#•ts 1 IObllttiesl Uwostrtcted fund$ B¥il(fings fvnd Education fiJnd 40.500 21.794 318,304 40,500 21.PJ4 318.304 General Lo[ Authonly Reb Fund 1,633 1.633 RM¢rf¢ted lunds Educat¥M lund 1,342 1.342 383.573 38373 Pvwious year Netturrent a$E•t8 1 I•bIllUt$) N•tAGS¢ts Unrestricted funds 'Iding$ fy.n4 EduL¥t ftsnd 40,5QO 21.794 283.704 40.SQQ 21,794 283.704 Gener81 Desgnated Lctal Aulhority Reb*e Fund 36.356 36,356 Edtill fund 26.148 26.148 408.502 408,$02 2024 2023 Aftermore Ihon S years 1S2,350 152.350 152.350 152.350
Chisenhale Art Place Ltd Dthikd Statement of Financial Activities For the year ended 31 March 2024 2024 2023 INCOME AND E14DOIVMEI Donation$ l•g¥¢i•s Grants rKavat4È 4.080 38.532 38,832 Chaiitabl• aetvir<ies Len fges receNal)fe IAdvanceTrtrt ofthe 262.392 296.525 Educatr"onal a(vknes lknancerrnt oftheArt51 Lwht and heat (Advancrynt ofthe kn) 7.163 10.871 6,725 8.124 28ON26 311374 Investmwrts Bank interest receivable 332 Otherincorne Local Authoiity Rebate 36,356 Total 4ncofflin4 wesourtes 20SN69 386,594 EXPEr4DURE ChaAtsl)It ¥¢thtitt¢s Rent and ths IAdvarKenMt ofthe Ajtsl Ub"IrtE5 (AdvanCennI of the Art$} Insurance (Advancement olthe AA51 Buikling repairs lAthanment crf the Arts) EduGèIiw G95ts IvontafIh6 M61 SWth"o costs (Advancerrent of the Art51 Cost of threct charitable actsvity (Open Stj)$) {161,293) 116.4181 117,4281 11,678 129,-2501 (1.0851 (9631 156,3051 114,8581 116.4231 11.9)41 124,2761 (7831 P28.1151 1214,1491 SUPPORT COSTS Maiiagén*nl costs. wages & {Ath4arKrnl of the Arts) Staff costs. penslon ¢))nth"bukns (Aifvwwnl ofthe Arts Telm$ {AanMeTht ol Ihe Arts) Bank charges (Advancemenl olthe Arts) Freelance assisiarite {Advancemt of IheArts) Sundry (Advancemert olthe Arts) AdHnl$tration and M•n1ence of the Arts) 142,7531 (46,5241 11.1221 {5.2) (1.6521 13a15 12.8901 11,0541 15841 12,425) 19201 {13,19ai 1212701 (72,9331 169.$88J Governan costs Aco)untancy fees IAdvancernent ofthe Arts) Legal and F¥ofewcThl lees {AdVan1 ofthe 11,6501 17,7001 11,6501 16.1871 33
Chisenhale Art Place Ltd Detsiled Statement of Financial Activities Continued For the yeaF ended 31 MaF¢h 2024 19,3501 17.8371 T9141 Mgyt¢gf twn09d. 1310,398) 1291,5741 N¢t Expend4 124,929) 95.020