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
N￿e5 to the FinwKial
25to32
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Chisenhale Art Pla¢e Ltd
Report of the TNstees
For the year ended 31 March 2024
The Truslees. who are a150 tlweclors for the pU￿c￿e5 of eryary Ivw. have pleaswe thar ￿pOrt and the
financia statemthts tr the draritable Ihe ye* ended 31 M*ch 2024. The Trustees have adopted Ihe
prtiwsion5 of Accounting and Re￿rbn9 ty Chwibes". St8temeni of ReconYrthd*J Pr8Ctice appkable to charitRs prepwing
their accowts in accordzrKe ¥&Tth the Fina￿￿ ReP)￿.￿g Siarnlarf app1m￿e 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 th*the Cempany wlll ÉOR*nue 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 ta￿Thg 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,
sIn￿ng. 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-
t￿daY 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 DI￿￿Or5 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, bL*t 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, W0￿ShopS 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 fleXI￿e 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 organis*ional 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 st￿ngthen 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 partne￿hIP 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 f￿1 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 pa￿S 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 JUTr￿30 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 figu￿S= 1758 Ilndudine 93 from visltor groups)
Talks, local and schools programme participats"on= 604
A srnaii stuffed b'at perch.ed on ClitseAhale Galler￿5 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- st￿tched 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 vis￿1 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 rel*ion 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
tran5i*on 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 eX￿OrIng 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 seNI￿S. 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. v￿rkIng 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 I￿p$- 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 5pacef0rA￿Sts
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 festi￿￿1 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 rep￿Senting 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 rep￿sents 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 further￿shOrt 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 D1￿CtOrS.
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 d￿ectorS kn the of cryrpary l*, are respyw.ble for the preparation ol Ihe
accoynts in w￿denCe 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*¢p*tht•nt *x•mlDeYs si•teiiiwrt
the Chaiitatjle eLWry'S ￿0$S inctyTrE exceeded £250.(￿. 5￿ul e¥2￿r￿ bp a men￿¥ ol 8 body listed in
sec*'on 145of Ihe 2011 Ad. I confirni Ihat l am qualrf*d to ￿￿ertake the ty wrtue of my m¢mbethip ol
Association ofAccounting Techn￿an5. YthKh Trs one ￿the
rne cause lo beheve tst in arry rn*￿1 respecl..
1. actA)unling fecorfs wete noi keo in ￿pect of fv Conv￿¥ as seclion 386 oflhe 2L￿6 Ad.
2. Ihe ￿(￿Jnts do Thot accord ￿th those recorfs: or
3. the ￿0￿nts do Thjt Q)Try)ty with the requ¥ew*nts of sec￿￿ 396 of Ihe 2rx6 Aci olher Ihan any r￿UireN￿nlth*the
aeeounls give a Irue and fair whi¢h L% not a nwtter cons#1ered as of w indepeTrknt examina(￿n., or
4. the &tounts have tKI teen prepared in ￿￿￿anCe *ih the n*lhrxls pnnciples ofthe Statenwt of RecomnKnded
Practice for 8¢rx)unting and fer￿n9 by chWit￿5 aP￿"Cthe to chathes wepanry Ihtrxc(wnts in with the
Financial Reporbng Stsndard appI￿able in Ihe UK and RepULl￿ of Ireland IFRS 1021.
I have no Concerns and have ¢oThe arxoss m other rnatte￿ in connection wilh the examiftkn.cm to which attentrjn should be
dI￿n in thi$ reF#yI In cfd¢r to enable a underS1ar￿1ny 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 endo￿ne￿i$ 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 h*MI
13
58.637
3412B1
$2.754
374.163
4X,917
(18,4151
14
(16.4451
Il•t cumint
J.57)
W.S7J
401902
400.5•2
JB3J7J
Th• fvnd¥ ofll*¢h¥lty
R05tr1(Sod
Ur*a$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 ath*l LY#ler 47Tot the coffpr￿ts
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 hIS￿1Cal c05t cL￿ent￿, except kn inve5trnerts are
vKluded at market vatue and Ihe reV￿LIati¢￿ of ￿rtain fixed a55et5 *d in accordance ¥￿th Ihe Charities SORP IFRS
1021'Accounthng and Repcrfting ity Charitses". Statemert 0fReC*n￿•Trded Prxtice applicable io preparing th￿r
account5 in accordance with the Financi* Rep(xtyng Standard aWAKab￿ in Ihe UK RepU￿1C of Ireland IFRS 1021
leffecbve 1 January 20191.. Finarwl Rep)rti￿￿ Standard 102 Ihe FinawKial Rq>ytswJ st￿d￿d appltsble in Ihe UK and
Repu￿1¢ of Iteland IFRS I￿21, and the C¢mpantes Act 2c￿.
Chisenhale Art Plw£ Ltd rneets Ihe definilbjn ola tenefil erty under FRS 102. Assds and lia1mf￿eS are
fétogiilsèd at h.kstoi￿I eèst crf. traiisactson Val￿ unkss Othe.￿L￿ staléd M the rèlévgnt acebj'ntifig F*ility' riolèlll.
Golng eon¢em
Thefinancial *atements are pre￿red, thi a wrrfJ Conc￿ basi%, ￿je1 Ihe histryilal cost
. Incoming re%yJrces
l incoming resouTCU are irttuded in Ihe *aternait ¢Mfinax?al actmtss t*hen 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 t*en dwted betr*eefi cost of rajsry funds and expendrture on
charita￿e activitie5 where apph"cable. The bases SVPFXIrt C￿ ha¥e been dlocated we Sel Out in Ihe note5 10
the acco￿1$.
T•x•tlo
A5 a registered Charity. the COnTpany is exerno from incsTh ar¥J (wx)rats"cn lax to the extenl that its ints)rre and gains
a￿ appliCa￿e lo chartsble purpgses onty. v￿￿e Added Tax is not re¢o¥erth bylhe ¢oms>any, and ts theref
Induded in relevart costs in the of F￿a￿la1 Adm1￿5.
Tanglble fixed a68•ts
Tan9ible fixed assets, otherlhan frEehdd land, ￿ slated at cost orvahjatiw less lepreci8ti.on and ary pro¥TSton fr¥r
iryainnent. DewecHtion is ￿￿¥thd at fate$ Ca￿￿taj lo *rte off the cost or v8h￿tIOn offixed assets. le55 the
Oporaling l¢asts
Costs Ofoper4￿ng ￿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
a8￿81
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 reCe￿able
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 re￿1¥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￿(￿e￿i￿ry1:
202i
Acc￿ntaI￿ fees
Slaff pens#)n contri￿tic0S
1.650
1.122
5,082

Chisenhal• Art Place Ltd
otes to the Financial Statements Contin￿1
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 aart￿L￿￿)￿S olthe key pO￿An01Wefv £42.172
12m".rJ8.9581.
o enyloyees reCeI￿d remJnaalthi ffj exc4ss 01£60.CIJO in the ￿rI2023." £n61.
11. TNst•• remuner•iion r*t¢d party ￿￿￿¢ll￿n$
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 W￿rt 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 FIn￿CHI 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
348￿82
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
A￿rual8 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
De￿n￿red
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 H￿￿ts ts Ihw rerrt thrir#J the COVIO A
hJing6 fijnd
Th? purpjse of thi8 fund 15 for pLqnned eXp￿drt￿￿ reknted k) tr￿l&Jing thaiwere i￿￿*11 lyjt not C￿le at 31st
march 2023 ptvs works lo t* siarted in 202&202S.
Educab"on fund
This lund hc4ds monies de*gnated loreducth)nal puffj4)ses.
Gerwal
Monies can be by the Trusleeslo furthwts obp*ves olthe ch¥ity.
Restri￿*& Fund$
•t
IncomlTrg
Igolng
r•sourG•S
Balance at
3110￿024
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
res0￿88 T￿0￿1¢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 educati￿81 x1jvrt￿.
Energy lund
The energy fijnd isforthe inyovenEnt of the enegry eff•i*i¢y olthe bjthjing.
31

Chisenhale Art Place Ltd
Notes to the Financial Ststements Continued
For the year ended 31 March 2024
16. Anal￿9 ofn¢t as$•ts lthen funds
Ilet tuwrÈnt IletAs$8ts
as#•ts 1
IO*bllttiesl
Uwostrtcted fund$
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
383￿73
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
Ed￿till￿ 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
L￿en￿ fges receNal)fe IAdvanceTrtrt ofthe
262.392
296.525
Educatr"onal a(*vknes lknancerr*nt 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
EXPEr4D￿URE
ChaAtsl)It ¥¢thtitt¢s
Rent and ths IAdvarKenMt ofthe Ajtsl
Ub"IrtE5 (AdvanCen￿nI of the Art$}
Insurance (Advancement olthe AA51
Buikling repairs lAthan￿ment crf the Arts)
EduGèIiw G95ts I￿v￿o￿ntafIh6 M61
SWth"o costs (Advancerrent of the Art51
Cost of threct charitable actsvity (Open St￿j￿)$)
{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 (Aifvww￿nl
ofthe Arts
Tel￿m$ {A￿an￿MeTht ol Ihe Arts)
Bank charges (Advancemenl olthe Arts)
Freelance assisiarite {Advancem￿t of IheArts)
Sundry (Advancemert olthe Arts)
Ad￿Hnl$tration and M•n1en￿ce
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 {AdVan￿1 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