**ANNUAL REPORT AND FINANCIAL STATEMENTS 2021 – 2022** 



## The SerpenTine TruST 

## ↓ 

## **Annual Report and Financial Statements** 

For the year ended 31 March 2022 

Charity Commission Number: 298809 Company Number: 2150221 

The Serpentine Trust (A Company Limited by Guarantee) 

## conTenTS ↓ 

## **References and Administration Details** 

## **4** 

## **Letter from the Chair, Michael R. Bloomberg** 

**6** 

## **Letter from the Chief Executive, Bettina Korek** 

**8** 

## **Trustees’ Report 2021/22** 

## **12** 

## **Serpentine: Art and Ideas for a Changing World** 

## **14** 

_Our Vision 14 Our Mission 14 Organisation Objectives 14 Our Aims & Objectives 14 Our Story 45_ 

## **Strategic Report 2021/22** 

## **16** 

Summary of our Activities, Achievements and Performance 18 

|**Strategic Report 2021/22**<br>Summary of our Activities, Achievements<br>and Performance|**16**<br>18|
|---|---|
|Championing an Integrated, Interdisciplinary||
|and Diverse World-Class Programme|22|
|_World-Class Programming_|_23_|
|Exhibitions, Public Art, Live, General Ecology,||
|Architecture, Editorial, Civic & Education|26|
|_Exhibitions_|_29_|
|_Back to Earth_|_50_|
|_Serpentine Podcast_|_66_|
|_Public Art_|_72_|
|_Architecture_|_76_|
|_Touring Programme_|_84_|
|_Art & Ideas_|_86_|
|_Live Programmes_|_92_|
|_New Partnerships_|_104_|
|Leading a Pioneering Educational Programme|106|
|_Education_|_108_|
|_Civic Projects_|_114_|
|Leading Artistic and Digital Transformation|129|
|_Arts Technologies_|_130_|
|_Serpentine R&D Platform_|_130_|
|_Future Art Ecosystems: Art x Metaverse (FAE2)_|_132_|
|_Creative AI Lab_|_138_|
|_Legal Lab_|_141_|
|_NFTs and the Law_|_142_|
|_Synthetic Ecologies Lab_|_142_|
|_Blockchain Lab_|_144_|
|_Arts Technologies Commissioning_|_144_|
|_R&D Labyrinths_|_145_|



Welcoming a Broad and Diverse Public 147 _Audience Development 148 Press & Media Profile 150 Reaching Beyond the Gallery Walls 150_ Developing Diverse, High-Performing & Engaged Teams 152 _Promoting an Open, Collaborative, Supportive and Diverse Culture 153 Attracting and Retaining Qualified and Talented Employees 154 Recognising and Rewarding Achievement and Performance Fairly 154 Equal Opportunity Policy 154_ Future Plans 157 

## **Improving Organisational Resilience and Sustainability 170** 

|Financial Review|172|
|---|---|
|_Summary of Performance_|_172_|
|_Principal Sources of Funding_|_173_|
|_Expenditure_|_174_|
|_Annual Fundraising Activities_|_175_|
|_Fundraising Practices_|_175_|
|_Fundraising Performance_|_175_|
|_Fundraising Events_|_176_|
|_Other Income Generating Activities_|_177_|
|_Risk Statement_|_178_|
|_Going Concern_|_178_|
|_Reserves_|_179_|
|Structure, Governance & Management|180|
|_Governance_|_181_|
|_Board of Trustees_|_181_|
|_Finance Sub-Committee_|_182_|
|_Operating Committee_|_182_|
|_Ethics Committee_|_183_|
|_Recruitment and Training of Trustees_|_183_|
|Public Beneft Statement|184|
|_Environmental Sustainability Policy_|_186_|
|_Environmental Action Plan_|_187_|
|Financial Statements|192|
|_Statement of Trustees’ Responsibilities_|_194_|
|_Independent Auditor’s Report to the_||
|_Members of The Serpentine Trust_|_196_|
|_Consolidated Statement of Financial Activities_|_200_|
|_Balance Sheet_|_201_|
|_Consolidated Statement of Cash Flow_|_202_|
|_Notes to the Financial Statements_|_203_|
|Our Supporters|216|



Our Supporters 

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_James Barnor: Accra/London – A Retrospective (Installation view, 19 May – 24 October 2021, Serpentine) Photo: Harry Richards @reportography_ 

## reFerenceS AnD ADMiniSTrATion DeTAiLS ↓ 

## **Registered Office** 

Kensington Gardens London W2 3XA 

## **Governing Document** 

Memorandum and Articles of Association 

## **Executive Team** 

Bettina Korek – Chief Executive Officer Hans Ulrich Obrist – Artistic Director Monica Varriale – Chief Operating and Financial Officer 

## **Company Secretary** 

WG&M Secretaries Ltd 

## **Auditors** 

Crowe U.K. LLP 55 Ludgate Hill London EC4M 7JW 

## **Bankers** 

Coutts & Co Media Banking 440 Strand London WC2R 0QS 

## **Solicitors** 

Weil, Gotshal & Manges 110 Fetter Lane London EC4A 1AY 


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## → LeTTer FroM The chAir, MichAeL r. BLooMBerg 

## Dear Friends, 

As we look back at the year, and the challenges and opportunities we faced, one thing is certain: our societies are changing at an unprecedented pace. The need for creativity has never been more apparent - and the importance of Serpentine’s robust programmes has never been greater. 

For example, last year's Pavilion, designed by South African design collective Counterspace, illustrated the unique role that Serpentine plays as both a convening space and a place for dialogue around contemporary issues. In addition to providing an opportunity for outdoor gathering, the design celebrated London’s diverse populations and the large migrant communities that contribute to the city’s vibrant and evolving culture. 

In the virtual space, the expansion of Serpentine’s digital programme has also enabled us to reach broader and more diverse communities. Serpentine has long served as a platform for artists to respond to pressing challenges and the organisation’s ongoing investment in digital infrastructure, coupled with the creative use of pioneering technologies, is allowing artists to communicate to audiences in new ways. 

The success of our programmes is made possible through the generosity of our supporters, the talent of our artists and architects and the vision of our leadership team, Artistic Director Hans Ulrich Obrist and our CEO Bettina Korek. I also want to thank our Board of Trustees for their guidance and all our colleagues for their hard work and dedication. 

In the year ahead, Serpentine will continue to build on all we’ve achieved and work with artists to explore new, ambitious long-term projects. 

Sincerely, 

Michael R. Bloomberg 

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## � LeTTer FroM The chieF execuTive, BeTTinA KoreK 

## Dear Friends, 

Serpentine’s mission of building new connections between artists and society has never been more pressing or more promising. Our work has long stood at the forefront of global convenings across cultures and disciplines. As we look back on the year 2021/22, and forward to our ambitious new goals, we are building on our ground-breaking successes around collaboration with new kinds of institutional and creative partners - especially in emerging digital worlds. 

Woven across all strands of Serpentine’s programming, business planning and culture is ecology. We strive to be a platform that amplifies environmental art and underpin this work through collaboration and embrace advanced technologies to explore and develop new models of reality. Each year through our Back to Earth programme established in 2020, we invite leading artists, architects, poets, filmmakers, scientists, thinkers and designers to devise campaigns, protocols and initiatives prompting responses to environmental crises, with the support of partner organisations and networks. This ambitious interdisciplinary project strikes at the heart of Serpentine’s mission of introducing new connections between artists and society. 

In 2021/22, we were delighted to once again present a full programme of art, architecture, performance and more across our galleries and online. We began the year with British-Ghanaian photographer James Barnor’s retrospective survey of his extraordinary six-decade career. Spanning studio portraiture, photojournalism and Black lifestyle photography, Barnor’s work provides a record of key social and political changes in London and Accra during the second half of the 20th Century and into the 21st. Meanwhile, Jennifer Packer’s first exhibition in the UK showcased her intimate and expressionistic portraits of friends and family members and Black lives and demonstrated her vibrant approach to colour and scale. 

From Autumn 2021 into Winter 2022, we presented an exhibition by French-Haitian painter Hervé Télémaque that incorporated images and experiences from his daily life, drawing connections between the realms of interior consciousness, social experience and the complex relationships between image and language. 

The launch of Radio Ballads in March marked a significant milestone for Serpentine – an exhibition showcasing a ground-breaking project that embedded artists within core social care and community services across the London Borough of Barking and Dagenham. Building on Serpentine’s ongoing critical investigation of the role of artists in political and civic life, Radio Ballads asks how art practices can become part of systemic transformation. The project is also part of LBBD’s New Town Culture programme: a ground-breaking initiative that aims to embed artists within core social care services and explores how artistic processes can reframe the work of social care. 

Much of our work this year has involved expanding our audiences with multi-layered projects that engage physical and digital spaces alike. A sterling example of this is our ground-breaking KAWS exhibition of January 2022, produced in collaboration with Acute Art and the massively popular video game Fortnite. As a mixed reality first, a playable rendering of Serpentine North and its KAWS exhibition was inserted into the Fortnite universe. Acute Art’s contribution enabled visitors to display recreated AR versions of works from the show anywhere, including in their own homes, or on social media platforms. 

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_Bettina Korek, Sumayya Vally and Hans Ulrich Obrist, Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace, Interior View © Counterspace Photo: John Offenbach_ 

## � 

Our free guide on Bloomberg Connects has enabled us to reach audiences across the globe and has encouraged on-site visitors to engage with our content in more innovative ways Meanwhile, our exemplary Arts Technologies team has continued to set the institutional standard for innovative R&D on the topic of advanced technologies, serving as a convenor across the field, and an indispensable producing partner for artists working in this arena. As we look closer into what is taking shape around blockchain and the metaverse, we continue to invest in research and strategic development that will position Serpentine as a leader in connecting artists to the power of these emerging infrastructures, and their ideas to the world. 

We look forward to welcoming you in 2022 and beyond. Thank you as always for your support and leadership. 

Sincerely, 


Bettina Korek 


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_Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace. Photo: Harry Richards._ 


## ↘ TruSTeeS’ reporT 2021/22 

**The Trustees, who are also Directors of the Serpentine Trust for the purposes of the Companies Act 2006, have pleasure in submitting their annual report and the audited financial statements for the year ended 31 March 2022.** 

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_Civic Projects Community Welcome Morning, July 2021. Photo: Matthew Ritson_ 

## � SerpenTine: ArT AnD iDeAS For A chAnging →WorLD 


## **Our Vision** 

To position the artist’s voice at the forefront of society 

## **Our Mission** 

Serpentine commits to: 

- Supporting artists to explore new possibilities through exhibitions, architecture, commissions, research and learning initiatives 

- Championing artists working across ecology, technology and community 

- Including and empowering diverse audiences and our collaborators 

## **Organisation Objectives** 

Our aims for the four years from 2018-2022 are to: 

1. Champion an integrated, interdisciplinary and diverse world-class programme 

2. Lead artistic digital transformation 

3. Lead a pioneering education programme and redefine the role of arts in society 

4. Welcome a broad and diverse public 

5. Develop a diverse, high-performing and engaged team; and 

6. Improve organisational resilience and sustainability 

## **Our Aims & Objectives** 

Exhibit and commission pioneering work from emerging and celebrated visual arts practitioners from a truly diverse range of backgrounds 

- 

- Promote free art and free thinking, remaining open, accessible, and inclusive to all 

- Challenge expectations of how art can be encountered and by whom 

- Bring artists and audiences together in real time, in our galleries, gardens and across our global digital networks 

- Help artists and their work play a crucial role in society, education, and an open democracy 

- Stay relevant, flexible and responsive to the wider cultural and social context 

- Develop, connect and champion diverse talent and innovation both inside and outside our organisation 

- Convene people and ideas across disciplines and communities, sharing research and 

   - distributing  knowledge 

- Experiment and evolve beyond our walls, bridging the gap between local and global, established, and emerging, young and old 

## **Our Story** 

Serpentine’s story is the story of contemporary art in Britain. Since its launch in 1970 within a Central London lakeside former teahouse, Serpentine has grown in scope, scale and ambition to become one of the most innovative, influential and important arts venues in the  world. 

Defined by its commitment to remain open, accessible and free for all, Serpentine has shaped and defined the last 50 years of art in Europe. Its commitment to offering an exhibition platform to underserved artists from across the globe, as well as intimate engagements with established artists’ practices, Serpentine has transformed how the public at large sees, understands and connects with the art, artists and ideas of our time. 

Today, Serpentine’s pioneering programmes of ecology, arts technologies and long-term embedded civic engagement redefine what an arts institution can be and should do in the 21st century. 

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_Fragment of Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace for New Beacon Books © Counterspace Photo: George Darrell_ 

## ↓ STrATegic reporT 2021/22 


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_Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace © Counterspace Photo: John Offenbach._ 

## � SuMMAry oF our AcTiviTieS, AchieveMenTS AnD perForMAnce 

The year 2021 was an eventful one for virtual performance as artists persevered through ongoing lockdowns. In the UK and internationally, productions and festivals took a renewed interest in the opportunities that virtual storytelling worlds can offer audiences and artists. At the same time, tech companies further pursued metaverse/s and territories of the third generation of the internet: Web 3.0. 

As audiences’ appetites for and fluency in virtual worlds continued to grow, we considered what this might mean in the context of art making. How do we respond to future possibilities for immersion and simulation within performance? And what tools are needed to support a multiplicity of virtual world-building across art and performance? 

Serpentine devised a hybrid programme for 2022. We delivered a full programme of live cultural events both online and off-site during Covid-19 restrictions, supported by the Culture Recovery Fund. 


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## ↓ FroM ApriL 2021 – MArch 2022, SerpenTine 

## � 

## � 

## � 

## � 

## BroughT 5* AnD coMMiSSioneD 4* criTicALLy youngeST ever AccLAiMeD ArchiTecT exhiBiTionS 

eSTABLiSheD LAuncheD coMMiTMenT To SynTheTic ecoLogy ecoLogieS LAB Further established our TooL 

Sumayya Vally was the Further established our youngest ever designer commitment to ecology Including James Barnor, to be commissioned through artist-led Jennifer Packer and Hervé in the history of the programming that address Télémaque to the UK. Pavilion. The design the future of our planet. was championed across � international and national media, with The Guardian � LAuncheD The and Observer highlighting the structure as one of the LAuncheD SeconD 20Th AnnuAL best pieces of the year. AnnuAL STrATegic SerpenTine BrieFing pAviLion 

Launched Synthetic Ecologies Lab’s first tool for artists working at the intersection of art and life science, Compendium, a curated database of life sciences materials in collaboration with Are.na (a platform for connecting ideas and building  knowledge). 

## � 

Our sector leading Arts Technologies team � delivered second annual strategic briefing Future DeLivereD 2021 Art Ecosystems (FAE) AnnuAL DigiTAL providing analytical and conceptual tools coMMiSSion for the construction with Berlin-based artist of 21st-century collective Trust. Their cultural  infrastructure. 

iniTiATeD A neW FeLLoWShip progrAMMe 

Welcomed Londoners back into the Park with the launch of the 20th Annual Serpentine Pavilion, Designed by Sumayya Vally, Counterspace to great critical acclaim, extending the commission for the first time with London-wide partnerships and activations. 

_Support Structures for Support Structures_ for up to 10 artists and collectives working at the intersection of art, spatial politics and community practice with unrestricted grants of 10k to develop creative ideas. 

with Berlin-based artist collective Trust. Their work, Hivemind, is an interactive game for artists which we will continue to use with artist via our Twitch channel throughout 2022/23. 

## � 

## � 

## � 

## SupporTeD 22.9K LArgeST SpiKe in iMproveD DigiTAL encounTerS AnD WeB TrAFFic AcceSSiBiLiTy 90 WorKShopS for KAWS and virtual 

for KAWS and virtual Improved digital exhibition created and accessibility of Serpentine promoted to Fortnite’s website with the global user base of 400M implementation of an users resulting in the accessibility plugin largest spike in web traffic accessed 4.8k times with 42k page views on 18 since  launch. January at launch. 

Serpentine Civic supported 22.9k encounters and 90 workshops and through our Radio Ballads project in two boroughs. 

## � 

## � 

## � 

## greW our eMAiL SuBScriBer BASe 

## 63% increASe in WeBSiTe engAgeMenT 

## SAW 500% BooST 

in visits to Back to Earth web pages. 

Grew our email subscriber base by 11.6k to 42.1k subscribers, following the introduction of our ticketing system. 

Website engagement increased by 63%, with � 911k total visitors during the year. eSTABLiSheD A neW youTh � coLLecTive 

## 46.1K LiSTenS To SerpenTine poDcAST 

Serpentine Studios to amplify young voices and to reimagine Serpentine as a hub for passionate audiences to engage with  art. 

46,114 listens to Serpentine Podcast from over 110 countries. 

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_Jennifer Packer: The Eye Is Not Satisfied With Seeing (Installation view, 19 May - 22 August 2021, Serpentine) Photo: George Darrell_ 

## → chAMpioning An inTegrATeD, inTerDiScipLinAry AnD DiverSe WorLD-cLASS progrAMMe 


## **World-Class Programming** 

Serpentine presents pioneering exhibitions from a wide range of emerging practitioners to the most internationally recognised artists of our time. Each year, we invite artists from around the world to create an ambitious, innovative and world-class programme. 

We welcome a broad and diverse audience from local communities and around the world to inspire and challenge them with the urgency of art and architecture today. Our programme is designed to be thoughtprovoking, exciting and stimulating for our audiences while remaining relevant and responsive to a wider cultural, social and political context. We are committed to broadening our research, deepening our relationships with artists over time and establishing meaningful partnerships with other institutions. Every event we present seeks to respond to the questions: _Why here? Why now?_ 

We develop long-term and supportive relationships with the artists we commission, as well as nurturing their conversation with our audiences. Emerging and celebrated artists and architects are given an open landscape for experimentation and creative collaboration. Our curators carry out regular studio visits, offer constructive critique and provide references and introductions for artists at all levels to encourage the creation of new artistic partnerships, networks, commissions and educational opportunities. We embrace the increasingly interdisciplinary approaches of practitioners and create an environment in which the artists we work with can engage with different media, spaces and forms. We work predominantly with living artists, with around one-third of our programme comprising brand new commissions. 

We are committed to programming exhibitions that reflect the diversity of contemporary England. We ensure selected artists come from a range of economic and educational backgrounds while supporting new talent, both UK and international, and engaging new audiences. Each exhibition is carefully conceived in relation to both the scale and architecture of the gallery buildings and their unique location in London's Kensington Gardens. 

Each year since 2000, landmark buildings are created for the Serpentine lawn by internationally acclaimed architects who have not yet completed a structure in England at the time of invitation. The _Serpentine Pavilion_ creates a context for a live programme of discussions, conversations and gatherings around ideas. It also provides a platform for more experimental, interdisciplinary work, including our annual _Park Nights_ series. Our 2020 Pavilion extended into a two-year project. Designed by Johannesburg-based Sumayya Vally, Counterspace, the additional time created space for detailed planning and an exploration of the community aspect of the design. The physical building was built in  2021. 

_General Ecology_ is the Serpentine’s long-term and ongoing project, researching complexity, more-thanhumanism, climate justice and environmental balance. Founded in 2018, General Ecology is a strategic effort to embed environmental subjects and methods throughout Serpentine’s outputs, structures and networks. The project concerns itself simultaneously with environmental and organisational ecologies. 

Launched in March 2020, _Back to Earth_ invites leading artists, musicians, architects, poets, filmmakers, scientists, thinkers and designers to contribute artworks and projects that call to action in response to the climate emergency. A long-term project, Back to Earth is both a programme about change and a catalyst for change, and addresses the key environmental threats facing our world, such as land rights, water and toxicity, fishing, farming and the limits of consumption. 

Our ambition to improve quality, engage with our audiences and establish meaningful collaborations with partner organisations has resulted in our pioneering integrated _Exhibitions, Live, General Ecology, Civic and Education_ programme. 

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_Back to Earth Day 2021, Power Pack: Climate Emergency by Jacob V Joyce and Rudy Lowe. Image Credit Talie Rose Eigeland_ 

The _Arts Technologies_ programme at Serpentine proposes critical and interdisciplinary perspectives on advanced technologies through artistic interventions. Challenging and reshaping the role that technologies can play in culture and society is part of Serpentine’s commitment to supporting new artistic experiments at what has now become an historical intersection. The programme initiates and supports artists in developing ambitious artworks that deploy advanced technologies as a medium, tool or topic, often operating beyond gallery walls. 

Serpentine’s _Education and Civic Projects_ programme seeks to redefine the role of the arts in times of transition and social change, addressing issues such as migrant rights, care, schooling and labour with individuals and groups excluded from the decisionmaking processes that shape the places where they live and work. Grounded in a long-term study of radical pedagogy, the programme includes ongoing commissions and workshop series, alongside toolkits and resources for change. Our projects team continued this year to serve under-represented communities, supporting thousands of educational encounters and producing downloadable resources and podcasts. 

We are proud of the work our Education and Civic curators have facilitated over the last decade - inviting artists to listen to communities before making work with them. We have sought to answer how an institution can hold a process that explores the relationship between art and pressing social issues. From _Radio Ballads_ in the London Borough of Barking and  Dagenham to our _Cracks in the Curriculum_ programme, it focuses our attention on periods of transition and change in contemporary society. 


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_Support Structures For Support Structures Fellows (First gathering) Credit: Maria Alejandra Huicho_ 

## → exhiBiTionS, puBLic ArT, Live, generAL ecoLogy, ArchiTecTure, eDiToriAL, civic & eDucATion progrAMMe 


During summer 2021, Serpentine presented a full programme of art, architecture, performance and more, within and beyond the galleries in Kensington Gardens. Visitors were able to explore ideas behind five-star exhibitions from James Barnor and Jennifer Packer with live events, in conversations and discussions. The long-awaited Serpentine Pavilion, designed by Sumayya Vally, Counterspace, hosted the return of the _Park Nights_ series of live encounters, this time live-streamed with partner Boiler Room. The Pavilion also played host to _Back to Earth Day_ ; a mini festival of activations marking the progress of Serpentine’s long term environmental programme, including sound commissions from Brian Eno and Torkwase Dyson. Off-site, fragments of the Serpentine Pavilion were hosted by partners in four locations around the city. 

In March 2021, _James Barnor: Accra/London A Retrospective_ opened in Serpentine North. James Barnor's work reminds us how thrillingly expansive life is; his photographs offer the possibility of connection and exchange across continent and through time. Images are drawn from a long lifetime of capturing people and places with the camera - a lifetime in which Barnor acts as witness, maker, interpreter and storyteller. We thank James Barnor for his vision, his unfailing energy and for sharing his memories so  generously. 

At Serpentine South, _Jennifer Packer: The Eye Is Not Satisfied With Seeing_ continued to captivate audiences and showcase the artist’s paintings and drawings from the past decade alongside a selection of recent works. 

The 20th Serpentine Pavilion, designed by Sumayya Vally, Counterspace opened to the public in June. A TIME100 Next List honouree, Vally is the youngest architect to be commissioned for the internationally renowned architecture programme. 

Our _Listening to the City_ programme picked up the sounds and stories of London with new sound commissions installed in the Pavilion from Ain Bailey and Jay Bernard, plus live performance, workshops and young people and families, and the development of the Becontree Broadcasting Station in Barking & Dagenham. 

In June 2021, a new outdoor public sculpture by Sophia Al-Maria was unveiled on the summer solstice, considering the dandelion as an image of resilience. 

A month later, Serpentine’s Arts Technologies team released the second volume of _Future Art Ecosystems_ , focusing on art and the metaverse. 

Frieze Week 2021 at Serpentine included exhibitions, live events, architecture and performances from Hervé Télémaque, Tosh Basco, Sophia Al-Maria, Torkwase Dyson, Revital Cohen & Tuur Van Balen, James Barnor and Sumayya Vally, Counterspace. 

The last exhibition of 2021, _Hervé Télémaque: A Hopscotch of the Mind_ opened in October 2021. Through paintings, drawings, collages, objects and assemblages, Télémaque brought together striking combinations of historical and literary references with those of consumer and popular culture to Serpentine South. 

Serpentine began 2022 with a multi-layered global project with internationally acclaimed artist KAWS developed in collaboration with Acute Art and the online video game _Fortnite_ . 

Our _Radio Ballads_ exhibition opened at Serpentine North in March 2022, the culmination of three years of work by the Serpentine Civic Team and artists Sonia Boyce, Helen Cammock, Rory Pilgrim and Ilona Sagar. Radio Ballads presented four bodies of work created through collaboration with social workers, carers, organisers and residents and explored stories of labour, and asking: _who cares for who and in what way?_ 

A new restaurant, _The Magazine_ , opened in June in the Zaha Hadid designed Serpentine North Gallery, offering all day dining. The Pavilion Cafe ran in the Pavilion throughout the summer months. As part of Back to Earth, Turner Prize nominees _Cooking Sections_ continued their ongoing research project, _CLIMAVORE in the Magazine_ ; introducing a Climavore menu, which included seaweed soda bread, rope grown mussels and an agar panna cotta. 

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_Hervé Télémaque: A Hopscotch of the Mind (Installation view, 7 October 2021 – 30 January 2022) Photo: Hugo Glendinning_ 


## ↓ 

## exhiBiTionS 

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_Jess, 2018 Oil on canvas 76.2 x 61 cm 30 x 24 inches Collection of Ursula Burns Photo: Jason Wyche_ 

## � « JenniFer →pAcKer 

_“My inclination to paint, especially from life, is a completely political one. We belong here. We deserve to be seen and acknowledged in real time. We deserve to be heard and to be imaged with shameless generosity and accuracy.”_ 

**The Eye Is Not Satisfied With Seeing** 

**19 May – 22 August 2021** 

**Originally opened 5 – 21 December 2020 before Covid-19 lockdown** 

**Exhibition** 

**Jennifer Packer (b. 1984, Philadelphia) is known for painting intimate portraits of friends and family members and funerary bouquet still lifes. Working from a combination of observation, improvisation and memory, Packer’s expressionistic paintings and large-scale drawings reveal the emotional and physical fragility of life. Characterised by a vibrant approach to colour and a powerful play of scale, she layers, obscures and reveals her subjects through constant shifts between the foreground and background, and figuration and abstraction.** 

## **Jennifer Packer** 


Serpentine Galleries → Annual Report and Financial Statements 2021 – 2022 

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_Jennifer Packer: The Eye Is Not Satisfied With Seeing (Installation view, 19 May - 22 August 2021, Serpentine) Photo: George Darrell_ 

This exhibition, the artist’s first outside of the US, included paintings and drawings from the past decade alongside recent work. Packer’s intimate portraits insist on the emotional and physical essence of the contemporary Black lives she depicts. While the casual repose of her portraits is the result of her care for the sitters, Packer acknowledges her choice to paint figures as political, stating: _‘representation and particularly, observation from life, are ways of bearing witness and sharing  testimony’_ . 

Jennifer Packer’s paintings recalibrate art historical approaches to these enduring genres, casting them in a political and contemporary light, while rooted in a deeply personal context. On occasion, Packer describes her flower compositions as funerary bouquets and vessels of personal grief; these paintings about loss are often made in response to tragedies of state and institutional violence against Black Americans. 

Featuring 34 works dated from 2011 to 2020, the exhibition presented portraits of artists from Packer’s New York circle, monochromatic paintings, intimate interiors and flower still life’s including _Say Her Name_ (2017), painted in response to the suspicious death of Sandra Bland, a Black American woman who is largely believed to have been murdered while in police custody in 2015. The exhibition also included drawings which for Packer are rarely just a study but hold a weight of their own that differs from paintings. 

Serpentine published an exhibition catalogue featuring contributions from Rizvana Bradley, bell hooks, Dona Nelson, Christina Sharpe and Lynette Yiadom-Boakye. After closing in August 2021, the exhibition toured to the Whitney Museum of American Art in New York from 30 October 2021 to 17 April 2022. 

## **Audience Figures: 26.1k** 

During the first week of Jennifer Packer’s exhibition opening in December 2020, Serpentine’s digital engagement saw a huge boost: 

- Serpentine's website received **75k** visitors, representing an increase of **30k** and the second highest spike in traffic in the site’s history 

- • A film made to promote the exhibition was viewed **c. 35k times** • Instagram impressions increased by **139%** and engagement by **255%** • Twitter impressions increased by **454%** and engagement by **406%** 

_“I cannot recommend this exhibition highly enough. There are a lot of good painting shows on in London at the moment…but if you only have time to visit one, go to the Serpentine Gallery to see this outstanding Jennifer Packer exhibition. It really is as good as art gets.”_ 

����� **Will Gompertz, BBC Arts** 

_“Packer seems to be asking who is looking, and what it is you are looking for. Painting is a good medium for such questions, which feel endless and  unanswerable.”_ 

���� **Adrian Searle, The Guardian** 


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_Portrait of James Barnor in front of some of his photographs, Accra, 1957, Courtesy Autograph_ 

## � � JAMeS → BArnor 

_“I came across a magazine with an inscription that said: ‘A civilisation flourishes when men plant trees under which they themselves will never sit.” But it’s not only plants – putting something in somebody’s life, a young person’s life, is the same as planting a tree that you will not cut and sell. That has helped me a lot in my work. Sometimes the more you give, the more you get.”_ 

## **Accra/London - A Retrospective** 

**Serpentine North Gallery 19 May - 24 October 2021 Exhibition** 

**Serpentine presented a major survey of British-Ghanaian photographer James Barnor, whose career as a studio portraitist, photojournalist and Black lifestyle photographer spans six decades and records major social and political changes in London  and Accra.** 

**James Barnor** 


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**----- Start of picture text -----**<br>
James Barnor: Accra/London - A Retrospective (Preview Day) Photograph: Harry Richards @reportography7<br>**----- End of picture text -----**<br>


Born in 1929 in Ghana, James Barnor set up his famous _Ever Young_ studio in Accra in the early 1950s, capturing a nation on the cusp of independence in an ambiance animated by conversation and highlife music. During this time, he also undertook assignments for the _Daily Graphic_ newspaper, documenting key events and figures in the leadup to Ghana’s independence in 1957, which established him as the first photojournalist in the country. In 1959 he arrived in London, furthering his studies and continuing assignments for influential South African magazine _Drum_ which reflected the spirit of the era and the experiences of London’s burgeoning African diaspora. He returned to Ghana in the early 1970s to set up the country’s first colour processing lab while continuing his work as a portrait photographer and embedding himself in the music scene. He returned to London in 1994 where he still lives today. This exhibition, the largest survey of his work to date, was drawn from his extensive archive and focused on the decades 1950–80. 

Central to Barnor’s work is the intimate documentation of African and Afro-diasporic lives across time and space. Whether taking family snapshots, commissioned portraits or commercial assignments, Barnor approaches the photographic process as a collaborative venture, a conversation with the sitter, and these images are a testament to a lifetime of encounters. Barnor’s desire to bring communities with him along his journey extends to his lifelong passion for education, not just as a means of furthering his own skills but also as a way of transmitting his knowledge to others. The recent digitisation of his archive of 40,000 images has enabled him to adopt the daily practice of revisiting his pictures with fresh eyes and share his extraordinary life and work with a new generation. 

The exhibition included over 200 modern prints, many never seen publicly before, alongside vintage works and documentation, selected in close collaboration with Barnor. The exhibition continued Serpentine’s commitment to programming pioneering artists achieving wider recognition later in their careers, following on from exhibitions in recent years by Rose Wylie (2018), Luchita Hurtado and Faith Ringgold (both 2019). 

Serpentine co-published an exhibition catalogue with Koenig Books. Fully illustrated and designed by Mark El-khatib, it included newly commissioned essays by David Adjaye, Christine Barthe, David Hartt, Erlin Ibreck, Alicia Knock and an interview with Hans Ulrich Obrist. After closing at Serpentine in October 2021, the exhibition toured to MASI, Lugano (13 March – 31 July) and will travel to Detroit Institute of Arts, Michigan in 2023 (28 May – 1 October 2023). 

_“This constantly surprising – and uplifting – exhibition is a map of a restless creative life lived between two countries, two cities and two cultures.”_ 

## ����� **Sean O’Hagan, The Guardian** 

_“We have had an amazing visit to both galleries today, and I'm so pleased to see that the Serpentine has two  people of colour and both genders in their spaces. One of the best combined shows I've seen in a long time. Well done Serpentine.”_ 

## **Exhibiton visitor** 


**Audience Figures: 41.8k** 

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_Date: c.1971 Sick Hagemeyer shop assistant, Accra Courtesy Autograph_ 


## � � JAMeS → BArnor 

**Portraits for the Future: A celebration of James Barnor** 

## **31 March 2021** 

## **Online Programme** 

**Hosted by Clara Amfo, this event featured James Barnor in conversation with photographer Tyler Mitchell and Hans Ulrich Obrist; music by Ebo Taylor; poetry by Nii Ayikwei Parkes; a look through the archives with Black in the Day; contributions from Sir David Adjaye, Naomi Campbell and British Vogue Editor-InChief Edward Enninful; plus instructions, reflections and tips from some of the most exciting photographers working today, including Liz Johnson Artur, Samuel Fosso, Eric Gyamfi, Zohra Opoku, Dayanita Singh, Ming Smith and Tourmaline.  Portraits for the Future brought together artists, photographers, musicians and leading cultural figures inspired by Barnor’s visionary work to explore how his vision is a crucial guide for the future.** 

## **Audience Figures:** 

**YouTube streams 3.2k** 

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_Date: c.1966 Caption: A group of friends photographed during Mr. And Mrs Sackey’s wedding, London, Courtesy of Galerie Clémentine de la Féronnière_ 

## **Family FOTO** 

## **Ongoing** 

## **Online** 

**For artist James Barnor, family and community are a constant source of inspiration in his photography. Family FOTO is an international family album inspired by Barnor’s Serpentine exhibition James Barnor: Accra/London – A Retrospective. In June 2021, Serpentine launched a digital call-out inviting people from around the world to share their interpretations of family through personal images and reflections. Presented in an online gallery, photos and intergenerational stories are shared by people across the globe.** 


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_Hervé Télémaque, Portrait de Famille, 1962-63, Oil on canvas 195.3 x 260.3 cm. Photograph: Fondation Gandur pour l’Art, Genève / André Morin © Hervé Télémaque, ADAGP, Paris and DACS, London 2021._ 


## � hervé � TéLéMAque 

## **A Hopscotch of the Mind** 

**Serpentine South Gallery** 

**7 October 2021 - 30 January 2022 Exhibition** 

**Since the late 1950s, Hervé Télémaque has created an expansive body of work with a unique and playful visual vocabulary, featuring abstract gestures, cartoon-like imagery, and mixed media compositions. Through paintings, drawings, collages, objects and assemblages, he brings together striking combinations of historical and literary references with those of consumer and popular culture. Incorporating images and experiences from his daily life, the artist’s extensive body of work consistently draws connections between the realms of interior consciousness, social experience and the complex relationships between image and language.** 

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_Hervé Télémaque: A Hopscotch of the Mind (Installation view, 7 October 2021 – 30 January 2022), Confidence (Secret), Photo: Hugo Glendinning_ 

Born in 1937 in Port-au-Prince, Haiti, Télémaque left for New York in 1957 entering an art scene dominated by Abstract Expressionism. In 1961, he moved permanently to Paris, associating with the Surrealists and later co-founding the _Narrative Figuration_ movement in France with art critic Gérald Gassiot-Talabot and artist Bernard Rancillac. A reaction against the dominant trend towards Abstract art and the developing movement of Pop art in North America, Télémaque’s Narrative Figuration often results in works with a Pop sensibility that incorporates consumer objects and signs. The artist then inflects these images with an astute criticality, producing work in dialogue with current events, such as the Cold War, the Cuban missile crisis, US intervention in the Dominican Republic, and contemporary French  politics. 

A vehement commitment to highlighting the histories and contemporary resonances of racism, imperialism and colonialism remains a constant throughout his career, with works that intimate the insidious ways that these structures continue to permeate our everyday lives. In later works, Télémaque refers more directly to his Haitian heritage and experience as part of the Caribbean diaspora. 

This exhibition, Télémaque’s first institutional show in the UK, brought together works made from the late 1950s until the present day, highlighting the enduring themes of the artist’s work through his multi-faceted practice. Rather than taking a chronological approach, _A Hopscotch of the Mind_ proposed a non-linear exploration of Télémaque’s visual vocabulary, encouraging viewers to jump between media and periods, forming their own associations between the disparate fragments of his idiosyncratic narration. 

Serpentine co-published a new exhibition catalogue with Koenig Books and Aspen Art Museum. Fully illustrated and designed by Mark El-khatib, it featured essays by key thinkers reflecting on his work. The exhibition will tour to Aspen Art Museum 4 November 2022 and  continue until 26 March 2023. 

**Audience Figures: 19.9k** 

_“Surveys a subversive fusion of archival and contemporary pop cultural references, alongside narratives on the impact of racism, imperialism and colonialism.”_ 

����� **Wallpaper Magazine** 


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_KAWS: NEW FICTION at Serpentine. FAMILY (2021) and UNTITLED (2019). © Jonty Wilde (courtesy KAWS)._ 

## � ↘ KAWS: neW FicTion 

_“This hybrid show of physical and digital works by US artist Brian Donnelly – also viewable in the video game Fortnite – could not be more of the moment.”_ 

**Serpentine x Acute Art x Fortnite** 

## **18 January - 27 February 2022 Exhibition, Digital** 

**In his first major solo exhibition in London, NEW FICTION, KAWS (Brian Donnelly b.1974) presented new and recent works in physical and augmented reality at Serpentine North. The exhibition was presented in collaboration with Acute Art and curated by Acute Art’s Artistic Director, Daniel Birnbaum. A parallel digital version of the show launched simultaneously in Fortnite; a video game developed by Epic Games.** 

## **Simon Parkin, The Observer** 

In addition to the Fortnite collaboration, Serpentine and KAWS used an app developed by Acute Art to offer a bridge between the virtual and the physical worlds. All the paintings and sculptures in the exhibition as well as a miniature version of the entire show existed as AR works on the Acute Art app and could be placed and viewed at home by viewers globally. They could also be shared on social media, making KAWS’ art visible across the world. 

## **Audience Figures:** 

|**Audience Figures:**||
|---|---|
|**Total Viewers**|**25k**|
|**Digital visitors(Acute Art app downloads)**|**14.7k**|
|**Promotion to Fortnite’sglobal user base of users**|**400 M**|




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_Rory Pilgrim, RAFTS, Barking and Dagenham Youth Dance, Production Still, 2021. Photo: Matthew Ritson_ 

## � rADio � BALLADS 

**Serpentine North Gallery 31 March - 29 May 2022** 

## **Exhibition** 

**The culmination of three years of work by artists Sonia Boyce, Helen Cammock, Rory Pilgrim and Ilona Sagar, Radio Ballads presents four bodies of work created through collaboration with social workers, carers, organisers and residents which explore stories of labour, and who cares for who and in what way.** 

**Over three years, artists Sonia Boyce, Helen Cammock, Rory Pilgrim and Ilona Sagar have been embedded in social care services and community settings in the London Borough of Barking and Dagenham, facilitated through the council’s New Town Culture programme.** 

The exhibition opened on the 31 March 2022 - the full programme will be reported in the 2022-23 annual report. 


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_Back to Earth Day 2021, 140 Ideas For Planet Earth Panel, Hilary Cottam OBE. Image Credit: Talie Rose Eigeland_ 


## � BAcK To eArTh� 

**Back to Earth is a multi-year project that invites leading artists, architects, poets, filmmakers, scientists, thinkers and designers, to devise artist-led campaigns, protocols and initiatives responding to the environmental crisis, with the support of partner organisations and networks. Interdisciplinary at its very core, Back to Earth manifests throughout our programmes onsite, offsite and online, sharing its resources to amplify ongoing projects or campaigns, or develop new ones.** 

The project continued to grow in 2021, with five new campaigns launched in January, February and March. A collaboration with _WePresent_ saw Back to Earth projects take on new formats and reach ever broader audiences, while a partnership with the Archaeological Park of Pompeii raises artist-led questions around archaeology, archaeobotany and archaeozoology. 

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_SWITCH, Vivienne Westwood for Groundwork, presented by WePresent x Serpentine_ 

## ↓ grounDWorK 

## **WePresent Partnership for Back to Earth** 

Groundwork is a collaboration between Serpentine Galleries and WePresent (WeTransfer). It explores the extensive research behind five artists’ proposals for Back to Earth: Serpentine’s multi-year exhibition focused on instigating change regarding the climate crisis. 

Groundwork acts as a series of accessible mini 

encyclopaedias with all the research and references artists use to come to a final artwork. Moving behind the scenes on the research the artists have done, in a bid to reveal their processes and inform how the viewer sees their project as a whole when it’s finished. It involves diving deep into the research of artists such as the state of survival Karrabing Film Collective, Revital & Tuur, Vivienne Westwood, Tabita Rezaire and Himali Singh Soin. 

Groundwork campaign by WePresent x Serpentine won the Communication Arts (CommArts) Design Awards - Public Service category. It was selected by the 2021 jury to appear in Design Annual 62, the September/October 2021 issue of Communication Arts. 

## **Engagement with WePresent Wallpapers:** 

## **Rev & Tuur** 

|**Rev & Tuur**||
|---|---|
|**Impressions**|**30.26M**|
|**Clicks**|**264.96k**|
|**CTR**|**0.88%**|
|**Vivienne Westwood**||
|**Impressions**|**23M**|
|**Clicks**|**88.78k**|
|**CTR**|**0.39%**|
|**Himali Singh Soin**||
|**Impressions**|**30.28M**|
|**Clicks**|**112.67k**|
|**Audience Figures WePresent:**||
|**Average readersper feature**|**500k**|
|**Impressions for artists’ chosen charities**|**10M**|
|**Boost in visits to Back to Earth webpages**|**500%**|




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_Back to Earth Day 2021, Climavore Panel. Image Credit: Talie Rose Eigeland_ 

## ↓ BAcK To eArTh DAy 2021 

## **A day of talks, performances and listening** 

## **19 June 2021** 

## **Hybrid event** 

Back to Earth, Serpentine’s long-term project dedicated to the environment and the climate emergency presented a day-long programme of talks, workshops, sound commissions, augmented reality and publications. All events took place in and around the Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace and were accessible via live stream 


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## � 

## BAcK To eArTh, A converSATion 

## **Serpentine Pavilion** 

## **Online** 

A panel on Back to Earth initiatives as well as the role of art towards the environmental effort. Participants included artists Torkwase Dyson and Brian Eno who discussed their Back to Earth sound commissions. 

## poWer pAcK: cLiMATe eMergency, A converSATion 

## **Serpentine Pavilion** 

## **Online** 

A conversation between artists Rudy Loewe and Jacob V Joyce and Laurél Hadleigh from LION (Land in Our Names) moderated by Alex Thorp, Serpentine Education Curator. Loewe and Joyce are creators of _Power Pack: Climate Emergency_ , a toolkit for young people that platforms BIPOC (Black/Indigenous/People of Colour) climate activists. Copies of the toolkit were made available throughout the day alongside a new website featuring five videos that offered ways to activate the pack. 

## 140 ArTiSTS’ iDeAS For pLAneT eArTh, BooK LAunch 

## **Serpentine Pavilion** 

## **Online** 

_140 Artists’ Ideas for Planet Earth_ - book launch of the first Back to Earth publication in collaboration with Penguin, featuring Hilary Cottam, Es Devlin, Sumayya Vally and The Otolith Group who shared instructions, ideas, rituals and gestures. 

## cooKing SecTionS, cLiMAvore hoW Do We eAT AS peopLe chAnge cLiMATeS? 

## **Online, Offsite, International, Ongoing** 

Spatial practitioners _Cooking Sections_ continued their ongoing research project, _CLIMAVORE_ . Working with scientists, chefs, farmers, policymakers and practitioners from several other disciplines, CLIMAVORE proposes an adaptive, regenerative form of eating – a shift in the economy and ecology of how we consume, interact with and produce food, towards environmental well-being in the climate emergency. Restaurants in museums across the UK are _Becoming CLIMAVORE_ , removing farmed salmon from their menus and replacing it with ingredients that improve water quality and cultivate marine habitats like seaweeds, sea vegetables and bivalves. The cafe at Serpentine has introduced a CLIMAVORE menu, which includes seaweed soda bread, rope grown mussels and an agar panna cotta. By Becoming CLIMAVORE, cultural institutions worldwide can be at the forefront of a collective effort to re-imagine existing food justice models and create new ones in the face of the climate emergency. 

## cLiMAvore, A converSATion 

## **Serpentine Pavilion** 

## **Online** 

A conversation with spatial practitioners Cooking Sections and Shane Kavanagh, Commercial Director of Benugo, on Cooking Sections’ long-term project, CLIMAVORE and their Back to Earth initiative, moderated by Lucia Pietroiusti, Serpentine Curator of General Ecology. 

## BLAcK ATLAnTic: SenSing The pLAneT 

## **Dartington** 

Sensing the Planet, a three-day gathering at Dartington from 29-31 October, saw leading UK cultural institutions Serpentine, the Royal Court Theatre, UCL’s Sarah Parker Remond Centre for the study of racism and racialisation and Dartington Trust launch Black Atlantic, a new decolonial arts partnership that aims to strengthen the role of arts and culture in advancing social and climate justice. 

|**Attendance**|**300**|
|---|---|
|**Online attendees - Day 1**|**260**|
|**Online attendees - Day 2**|**280**|



## WeBS oF LiFe, inTroDucTion 

Daniel Birnbaum, Director of Acute Art, introduced _Webs of Life_ by Tomás Saraceno, a Serpentine Back to Earth project presented in collaboration with Acute Art. 

## WeBS oF LiFe, A WALK 

## **Kensington Gardens** 

A guided walk about spiders in Kensington Gardens by Peter Lawrence, Biodiversity Manager at The Royal Parks and Charlie Linton, Learning Assistant on Mission: Invertebrate at The Royal Parks on the occasion of the launch of Tomás Saraceno’s AR app, Webs of Life. 

## ToMáS SArAceno: WeBS oF LiFe 

## **Serpentine Pavilion & Kensington Gardens** 

A new Augmented Reality app, _Webs of Life_ , by Tomás Saraceno with Acute Art, introduced audiences to the extraordinary physicality of spiders, their reading of the world through the webs they weave, and encouraging greater awareness and protection of their habitats. 

## BriAn eno SounD coMMiSSion 

## **Serpentine Pavilion** 

Brian Eno’s Back to Earth sound commission, was a work devised site-specifically for the Serpentine Pavilion 2020+1 by Counterspace. Eno composed a layered, stratified construction of sonic material that moved through the structure, from the earth beneath visitors’ feet to the space above their heads. 

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_Tomás Saraceno, Maratus speciosus, Augmented Reality, 2021. Courtesy Tomás Saraceno and Acute Art_ 


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## ↓ ArTiST cAMpAign, proJecT 

## TABiThA rezAire, AMAKABA 

## **Offsite, International, Ongoing** 

As part of Back to Earth, artist, yogi and doula Tabita Rezaire developed _AMAKABA_ , a centre for the arts and science of the earth, the body and sky, combining spiritual and ancestral philosophy with an agroecological cacao farm and yoga centre. In Rezaire’s words, _"AMAKABA’ is a vision for a space where one can connect with a journey into the depths of themselves, guided by the wisdom of the Amazonian forest. The ambition is to contribute to a more conscious and responsible way of living and being, and to respond creatively to the many challenges we face."_ 

## KArrABing FiLM coLLecTive 

## **Offsite, International, Ongoing** 

Also part of Back to Earth, Karrabing Film Collective has developed _The Family_ , a new film commission and cross-artform project aimed at enhancing ancestral Emmi narratives about the southern coastal region of the Anson Bay (Northern Territories, Australia), and specifically about the ecologically fragile Cape Ford region. The ultimate goal of the project is the creation of a cultural heritage area. The Family includes two artistic outputs and a comprehensive digital mapping of an extensive network of rock weirs and shell middens with the ultimate goal of creating a cultural heritage area around the Mabuluk (Cape Ford) region. The two artistic outputs are a film, The Family, which Serpentine’s Back to Earth project co-commissioned, and of a series of locally situated large-scale wood-based graffiti maps. 

## hiMALi Singh Soin: STATic rAnge 

## **2021 – 2022** 

## **Online, International** 

As part of Back to Earth, writer and artist Himali Singh Soin presented _static range_ , a multi-disciplinary and multi-limbed project using a real-life spystory in the Indian Himalayas as a springboard for speculations and reflections about invisibility, leakages, spiritual entanglements, nuclear culture, socio-political marginalisation and Icarian delusions. This series of transmissions that made up ‘static range’, included an adapted stamp, letters, an animation, music, embroidery, healing, planting and a performance installation. 

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## JuDy chicAgo, JAne FonDA & SWoon: creATe ArT For eArTh 

## **Online, Ongoing** 

Artists Judy Chicago and Swoon teamed up with Jane Fonda and her environmental initiative _Fire Drill Friday_ - a partnership with Greenpeace USA, the Women, Arts and Social Change initiative of National Museum of Women in the Arts (NMWA) in Washington, D.C. and Serpentine Galleries, London. 

Together they launched _#CreateArtforEarth_ , a global creative campaign to encourage art that addresses the climate crisis and inspires action. #CreateArtforEarth has been conceived as part of Serpentine’s Back to Earth, a new multi-year project that invites artists to propose campaigns that respond to the environmental crisis, with the support of partner organisations and networks. 

The #CreateArtForEarth campaign is an open call for all to submit art or messages addressing climate justice and post them to social media using the hashtag #CreateArtForEarth. Submissions can be in any form: paintings, photographs, sculptures, images, texts, poems, symbols, or any other visual representation that carries an environmental message. Find out more on our Instagram, Twitter and Facebook. Launched in April 2020, during a time of uncertainty and social distancing, #CreateArtforEarth became a call to make protest visible and create art that reflects our mutual commitment to stop the climate crisis and protect our planet. 

_“We can get through this health crisis and return to normal, or we can realise that ‘normal’ was the problem and choose a better path. Normal meant melting ice sheets, extinct species, millions of climate refugees. That is why we are inviting you to participate in this global art project in which artists offer an alternative vision to normal, one that honours the planet and all living creatures, one that promotes equity and justice for all; one that offers hope in a  world that is on the wrong track.”_ 

Jane Fonda 

_“The most pressing issue for us today are the conditions out of which these dire occurrences have happened, which artists can help illuminate if they start addressing what matters in understandable modes.”_ 

## Judy Chicago 

MoSS MATTerS A 2020-2021 MeTABoLic SeLveS cAMpAign, pArT oF BAcK To eArTh 

## **27 August 2021** 

## **Online, Offsite** 

This year marked the second instalment of _Metabolic Selves_ , an initiative devised by students of the Royal College of Art School of Architecture, studio ADS3: _Refuse Trespassing Our Bodies_ , for Back to Earth. Its current campaign, _Moss Matters_ , explores the urban ecology of London’s moss species, revealing what these resilient organisms can teach us about the life of the city. 

Moss Matters takes the form of a public audio walk that invites participants to discover London’s mosses along the length of Regent’s Canal. Amongst the ruins of the city’s industrial past, this narrated journey makes use of moss as a witness to recount the chemical, biological and socio-natural interactions that take place between the metropolis and its non-human inhabitants. Moss Matters teaches us how to read moss and see the city from the perspective of its most overlooked species. Moss Matters is released on the Serpentine’s podcast feed. Visit Moss Matters’ homepage to download the map for the audio walk. While Moss Matters was composed site-specifically, it can be listened to from anywhere. 

## vivienne WeSTWooD: SWiTch AcT FAST, SLoW DoWn, STop cLiMATe chAnge 

## **Late 2021** 

## **Online, Offsite, International** 

As part of Back to Earth, fashion designer and activist Vivienne Westwood developed her campaign _SWITCH_ . Westwood’s long history of fighting for climate justice today has culminated in her campaign for Back to Earth, asking and encouraging us to SWITCH to green energy, a moment of calling to action together with partner organisations, with whom she has developed strong and crucial relationships with over the years. 

Westwood’s call is for clear change: _“First step to save the environment: SWITCH to Green Energy.”_ We must change our energy source, we must do it quickly, and then we must reflect on our behaviours to commit to and make long term difference. Westwood encourages us to make changes now that will translate into a significant impact in the environmental effort and reminds us that the consumer has the agency. _“We’ve got five years to fix it”_ , Westwood declares. 

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## MAriA TherezA ALveS: To See The ForeST STAnDing 

## **Online, Ongoing** 

_To See The Forest Standing_ is an ongoing research-based artwork and campaign by Maria Thereza Alves to bring awareness to the protection, care and preservation of the forest by the AMAAIAC, the Association of the Movement of Indigenous Agroforestry Agents of the State of Acre, Brazil, as well as the threats to this stewardship posed by the aggressive extractive activities of agrobusiness and government alike. 

_“The forest agents are not recognised by the Brazilian government and receive no regular income for their labour and yet they are the front line for ensuring the possibility that Brazil and the larger world might have a future.”_ 

## Maria Thereza Alves 

In July and August of 2017, Alves interviewed 34 agroforestry agents who are members of AMAAIAC in Acre, Brazil. AMAAIAC’s mandate is to preserve forested areas on indigenous lands and provide training for more efficient agro-forestry methods, particularly for areas which have been heavily deforested and destroyed by settlers. The forest agents are elected by their community and are responsible through community consensus for managing reforestation, sustainable farming, overseeing animal life, the protection of water sources, environmental education program, promoting biodiversity of fauna and flora and caring for archaeological sites. 

## cAroLinA cAyceDo: FroM river righTS To JuST FAir energy TrAnSiTion 

## **Online, Ongoing** 

How can communities work together to dismantle oppressive infrastructures which harm our land, air and rivers? Drawing on her own Colombian-American roots, multidisciplinary artist Carolina Caycedo is researching community-led alternative energy production across the Americas. The basis of her campaign for Back to Earth is her long-running investigation into human interaction with rivers, from access to clean water supplies to toxicity levels and the impact of dams. 

_"Infrastructure as we know it has been constructed with a climate pattern in place, but under the current uncertain and changing climate conditions, we have seen an increase of infrastructure damage and collapse, in the likes of bursting dam spillways, falling bridges, leaking pipelines, and mine-tailing dam collapses. We are so vulnerable, depending on an energy grid we have absolutely no control over!”_ 

## Carolina Caycedo 

## TAi ShAni: unTiTLeD hierogLyphS 

## **2021** 

## **Online** 

The building of a house we will never live in, a house for our ghosts, where the gothic and the hallucinatory collide… 

As part of Back to Earth, artist Tai Shani developed _Untitled Hieroglyphs_ , a film and sound art project emerging from the artist’s research into psychedelics, feminism and myth, unfolding throughout 2021. The project’s first release was a film emerging from an interview between Shani and Serpentine Curator of General Ecology, Lucia Pietroiusti, developed through collaboration between Serpentine and the Archaeological Park of Pompeii’s contemporary art platform, _Pompeii Commitment. Archaeological Matters_ . 

Untitled Hieroglyphs weaves together a series of poetic considerations on a feminist history of Ergot, a fungus that grows on rye and other common grains from which the hallucinogenic drug LSD is derived. Shani’s investigation spans many fields – from the cellular to the galactic, from Palaeolithic cave markings to the optic markings left by drone photography in our internal eye, dancing plagues, communist psychedelic witches, hyper-sexual fungi, descents and ascents. In the artist’s words, through Untitled Hieroglyphs Shani addresses _"the building of a house we will never live in, a house for our ghosts, where the gothic and the hallucinatory collide, where gothic affects, and fractal dread form a mausoleum for psychedelic spectres. Also the sun! Sun is a ghost that haunts the night!"_ The expansion of consciousness and hallucinatory qualities of psychedelic experiences thus offers both a hypothesis and an access point to multiple histories and alternative forms of knowledge. 

## reviTAL cohen & Tuur vAn BALen: heAvenS 

## **12 – 17 October 2021** 

## **Offsite: The Swiss Church, WC2** 

_Looking up to look down. Looking up to look back. Looking down to look forwards._ 

This new moving image installation, titled _Heavens_ , began from the theory that the octopus evolved from a virus originating in outer space, expanding our perception of ecology as a network of interplanetary relationships. Emerging from conversations with a philosopher, a writer, a psychiatrist, an astrobiologist, an astronomer and an escape artist, Heavens comprised a constellation of text, sounds and images. The piece looked to the physiology and behaviours of the octopus to reflect on human and non-human attempts to escape through acts of communal ritual, or through leaks and spill overs. Composition by Pan Daijing featured vocals of Anna Davidson and Marie Gailey. Heavens was co-commissioned by Serpentine and Malevich. io as part of Back to Earth, Serpentine’s long-term multidisciplinary project dedicated to the environment and the climate crisis 

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_Still from Marguerite Hemmings and LaJune McMillian, Antidote (2020), digital video._ 


## � 

## SerpenTine poDcAST� 

**Serpentine Podcast is a hybrid publishing and commissioning platform for audio. Over its evolution, it has  supported a nomadic live broadcast radio station and acted as a living archive of our programme. As an editorial platform, the Podcast now responds to a wider cultural and socio-political context while expanding upon the research and knowledge generated by Serpentine’s programme.** 

The platform was launched during the _Transformation Marathon_ in 2015. It has become a permanent fixture of Serpentine’s programme and now brings together over ten years of audio experiments and commissions from our archives. As part of our Back to Earth campaign in 2020-21, a series of podcasts explored the scientific, artistic and spiritual in wideranging conversations about how creativity can help in the fight against the destruction of our planet. 

In 2021-2022, the Podcast released two new series – one led by Serpentine Arts Technologies and one activating the book _140 Ideas for Planet Earth_ – and continued the existing Back to Earth series. Over the year, there were 46,114 listens to the Podcast from over 110 countries. More than two-thirds of episodes were downloaded outside the UK, meaning audiences across the world are engaging with the ideas, artworks, and conversations that the platform presents. 

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_140 Artists' Ideas for Planet Earth edited by Hans Ulrich Obrist and Kostas Stasinopoulos book cover. Imprint: Penguin. Published: 03/06/2021._ 

## ↓ 140 iDeAS 

## **June – July 2021** 

Back to Earth presented a new mini-podcast series inspired by the publication of _140 Artists’ Ideas for Planet Earth_ , a collaboration between Serpentine and Penguin and edited by Hans Ulrich Obrist and Kostas Stasinopoulos. For this podcast series, we invited five artists from the book to share their contributions and take us on a journey through actions and thoughts their instructions might inspire. 

## **Number of listeners in 2021-2022:** 

|**140**|**Ideas: Introduction**|**2.3k**|
|---|---|---|
|**140**|**Ideas: Tomás Saraceno**|**2.8k**|
|**140**|**Ideas: Nahum**|**1.7k**|
|**140**|**Ideas: Cauleen Smith**|**1.7k**|
|**140**|**Ideas: Bhanu Kapil**|**1.8k**|
|**140**|**Ideas: Maya Lin**|**2.1k**|




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## � 

## 140 iDeAS: ToMáS SArAceno 

Tomás Saraceno invited us to listen to the spider playing its web at night inside our homes. We were encouraged to move away from a fear of spiders (arachnophobia) and towards a love of spiders (arachnophilia), both here and in Webs of Life, presented by Serpentine and AcuteArt. With vibrations from the Arachnophilia community: _Nephila senegalensis, Pardosa lugubris, Cyrtophora citricola, Habronattus dossenus from the Arachnophilia_ Archives recorded at Studio Tomás Saraceno. 

## 140 iDeAS: nAhuM 

Artist and musician Nahum invited us to experience intimacy with our planet and our galaxy. Exploring earthbound existence, through visible and invisible connections, Nahum encouraged listeners to open their mouths when it’s raining, swallow a piece of cloud and travel to outer space. 

## 140 iDeAS: BhAnu KApiL 

Poet Bhanu Kapil shared a creative gesture to link cosmic energy to the earthly domain and an instruction for all those fighting for climate justice focusing on the question: What do you never want to experience in this space? 

## 140 iDeAS: MAyA Lin 

Artist and environmentalist Maya Lin invited us to give half our yard back to nature and explored how implementing nature-based solutions in agriculture and forestry has a substantial effect in the climate emergency. 

## � 

## pLAyTeSTing 

## **15 July 2021** 

## **Podcast** 

Serpentine Arts Technologies programme launched a series of two specially-conceived episodes of Serpentine Podcast alongside their publication _Future Art Ecosystems: Art x Metaverse (FAE2)_ . The _Playtesting_ podcasts invited artists, technologists and thinkers to share their insights, methodologies and working practices with advanced and emerging technologies, and virtual worldbuilding. From building counter archives, datasets and repositories for liberation, to working with antecedent frameworks, together we embrace more decentralised, community-focused and emancipatory visions for the future. 

## **Number of listeners in 2021-2022:** 

||**Playtesting: Counter-Archives**<br>**Playtesting: Co-Creation**|**2.1k**<br>**2.9k**|
|---|---|---|



## BAcK To eArTh: MoSS MATTerS 

## **27 August 2021** 

## **Podcast** 

Moss Matters is a sound work devised by students of the Royal College of Art’s School of Architecture studio ADS3 for Serpentine's Back to Earth project. Moss Matters explores the urban ecology of London’s moss species, revealing what these resilient organisms can teach us about the life of the city. 

## **Number of listeners in 2021-2022:** 

**Back to Earth: Moss Matters** 

**4.5k** 

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_Sophia Al-Maria, taraxos, 2021 Serpentine x Modern Forms Sculpture Commission 21 June 2021 – 24 April 2022. Photo: Hugo Glendinning_ 

## ↓ puBLic ArT SophiA AL-MAriA → TArAxoS 

## **Serpentine x Modern Forms Sculpture Commission** 

**Kensington Gardens, Serpentine South Gallery 21 June 2021 - 24 April 2022** 

**Sophia Al-Maria is a Qatari-American artist who lives in London. Though her work spans many disciplines including drawing, film and screenwriting for TV, it is united by a preoccupation with the power of storytelling and myth, and in particular with imagining revisionist histories and alternative futures. Her work has been exhibited and published internationally and collaboration remains a fundamental principle of her expansive practice.** 

_“Every asterisk a star. Every star a clock. Every clock a chime. Every chime a warning. Waking a cell, then a seed, then the germ of a weed getting ready to flower.”_ 

**Sophia Al-Maria** 


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Sophia was the co-curator of the Serpentine Miracle Marathon in 2016, participated in the 2014 Extinction and 2015 Transformation Marathons and her films have been screened widely at Serpentine Cinemas and symposia, most recently as part of the General Ecology programme. 

Sophia Al-Maria considers the dandelion an emblem of freedom and resistance, as each seed has the potential to become an agent of resilience and change. Inspired by the life cycle and geometry of the dandelion (taraxacum officinale), the sculpture taraxos was a model for understanding and listening to the world.. 

taraxos was a meditative place for anyone to slow down time for themselves. Visitors were able to sit beneath and stand amongst a constellation of twelve metal achenes, which took the form of futuristic dandelion ‘seeds’, and listen to the sculpture. Activated by the wind, the sculpture could also be played by touching the stems which were covered in copper, a material selected for its antimicrobial qualities. At the top of each achene the asterisk* appeared as shorthand symbolising a dandelion seed’s bracts, while below it was inscribed into the ground in reference to the navigational tool of a meteorological wind rose. The punctuation mark of the asterisk* is a motif in Al-Maria’s work which emerged from her screenwriting practice in which the asterisk indicates rewriting and revision. The central node of taraxos is a piece of reclaimed titanium from an airplane. This durable yet light material, ideal for air and space travel mirrors that of the seemingly fragile airborne dandelion seed. 

The Serpentine x Modern Forms Sculpture Commission focused on Serpentine’s immediate environment as a space for artists to engage with the landscape of the park. Sophia Al-Maria was selected for this new public sculpture commission by Hans Ulrich Obrist, Artistic Director, Melissa Blanchflower, Curator, Exhibitions and Public Art, Serpentine and Nick Hackworth, Director, Modern Forms. It is the artist’s first public art commission, and it will be part of the Geneva Sculpture Garden Biennale in summer 2022. 

_“I love the sound of the piece. And its windy today so you can hear them move in the wind. London is full of surprises you get to stumble on, little gems like this sculpture.”_ 

## **Sophia Al-Maria, Tosh Basco and Kelsey Lu: tarax'sup?** 

## **21 December 2020 - Ongoing** 

## **Online** 

**tarax’sup? is a collaborative project between Sophia Al-Maria, Tosh Basco, Kelsey Lu and more to come. Launching on the Winter Solstice, 21 December 2020, tarax’sup? - a short meditative audio exercise inspired by the common dandelion (taraxacum officinale) was written and performed by Sophia Al-Maria, with a musical score by Kelsey Lu and cover artwork by Tosh Basco (boychild) developed collaboratively throughout late 2020.** 

The work took the image of the dandelion at its centre to explore the ‘seeding’ of ideas, kinship, our connection to nature and abolitionist thinking through breathwork, deep listening and the principles of guided meditation imagery. tarax’sup? can be used at home as a means to access a different kind of space or used in different environments such as on a daily walk as a way to connect to one’s surroundings. tarax’sup? is a moment of first seeding, a prelude to Sophia Al-Maria’s ongoing project with the Serpentine, _Taraxos_ , which ruminates on the dandelion. 

For part two of Taraxos, on the Spring Equinox, _A Wish is a Form of Travel_ , Al-Maria chatted with artist Leila Dear about the mathematics of flowers, the healing power of geometry and float through the new series of drawings Dear produced for the project based on the structure of a dandelion blowball. 

**Audience Figures: 16.1k** 

In addition to the sculpture commission, the following events were programmed alongside taraxos: 

- Sophia Al-Maria, Tosh Basco and Kelsey Lu, _Tarax’sup_ ? 

- • Sophia Al-Maria and Leila Dear, _A Wish is a Form of Travel_ • Digital presence on 21 December 2020 and 21 March 2021 before public sculpture installed on 21 June 2021 

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## ↓ ArchiTecTure 

## SerpenTine pAviLion →2021 

## **Designed by Sumayya Vally, Counterspace** 

**11 June – 17 October 2021** 

**Pavilion** 

The shapes of the Pavilion were created from a process of addition, superimposition, subtraction and splicing of architectural forms, directly transcribed from existing spaces with particular relevance to migrant and other peripheral communities in London, including Brixton, Edgware Road, Barking and Dagenham and Hoxton. 

Located on the grounds of Serpentine in Kensington Gardens, the Pavilion’s design was based on past and present places of meeting, organising and belonging across several London neighbourhoods significant to diasporic and cross-cultural communities. The forms in the Pavilion were a result of abstracting, superimposing and splicing elements from architectures that varied in scales of intimacy, translating the shapes of London into the Pavilion structure. 

For the first time since the annual architecture programme was founded in 2000, the Pavilion was extended into a two-year commission to allow a greater period of planning and outreach. Also for the first time, four _Fragments_ of the Serpentine Pavilion were placed in partner organisations across London whose work had inspired its design. 

Since its inception, the Pavilion has become an established home for Serpentine’s Live Programmes. 

This year the Pavilion also hosted a specially commissioned sound programme _Listening to the City_ that featured work by artists including Ain Bailey and Jay Bernard, connecting visitors to the stories and  sounds of selected London neighbourhoods. 

It also saw the return of the _Park Nights_ series of live encounters and  a  mini festival of _Back to Earth_ activations, marking the progress of Serpentine’s long term environmental programme, including sound commissions from Brian Eno and Torkwase Dyson. 

Due to restrictions brought on by the pandemic, capacity was limited for the programmes that took place in the Pavilion. 

**Audience Figures: 64.4k** 

_“A sophisticated chimera of light and depth”_ 

**Rowan Moore, The Guardian** 

_“A deeply satisfying architectural richness”_ 

**Will Wiles, Art Review** 

**The 20th Serpentine Pavilion was designed by Johannesburg-based Sumayya Vally, Counterspace. A TIME100 Next List honouree, Vally is the youngest architect to be commissioned for this internationally renowned architecture programme. Counterspace’s design was based on gathering spaces and community places around the city, folding London into the Pavilion structure in Kensington Gardens.** 

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_Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace, Exterior View © Counterspace. Photo: Iwan Baan_ 


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_Fragment of Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace for The Albany © Counterspace, Photo: George Darrell_ 

## ↓ ArchiTecTure 

## SerpenTine pAviLion 2021 → FrAgMenTS 

## **Designed by Sumayya Vally, Counterspace** 

**11 June – 31 October 2021** 

**Public Art, Pavilion** 

**For the first time in the history of the Serpentine Pavilion commission, four Fragments of the Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace were placed in partner organisations whose work has inspired its design. These were located in New Beacon Books in Finsbury Park, one of the first Black publishers and booksellers in the UK; a multi-purpose venue and community hub The Tabernacle in Notting Hill; arts centre the Albany in Deptford, and the new Becontree Forever Arts and Culture Hub at Valence Library in Barking and Dagenham, which was established this year to commemorate the centenary of the UK’s largest council housing estate.** 

_“The stage may be demure in size, but the gesture is huge.”_ 

The Fragments supported the everyday operations of these organisations while enabling and honouring gatherings of local communities they have supported for years. A gesture of decentralising architecture to include a multitude of voices, the Fragments extended out into the city the principals on which the Pavilion was designed. 

**Yuki Sumner, Azure Magazine** 

The Fragment at New Beacon Books offered an additional space for customers to browse the books on display. Additionally, it could be used as a stage for a reading, lecture or spoken-word performance. At the Albany, the Fragment extended the seating area in the garden for quiet reflection and could also function as a stage for intimate performances. The Fragment at the Tabernacle offered an additional seating area for people to enjoy and share a meal from the Tabernacle restaurant. Additionally, it could be used as a stage for small performances. At Valence Library the Fragment was designed to be used flexibly, as one structure or divided into smaller sections to respond to the needs of recordings made for the new radio station Becontree Broadcasting. It also became part of the daily operations of the Valence  Library. 

An additional Fragment was temporarily on view in Regent’s Park from 14 September to 31 October 2021 as part of Frieze Sculpture. The  Fragment’s design responded to the surrounding park and  f acilitated different types of gatherings. 


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_Portrait of Sumaya Vally in Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace, Interior View © Counterspace Photo: John Offenbach_ 

## ↓ ArchiTecTS TALK 

## SuMAyyA vALLy & hAnS uLrich oBriST 

## **9 June 2021** 

## **Online event, Live Stream in partnership with Dezeen** 

Serpentine teamed up with DEZEEN to livestream a conversation with Sumayya Vally, Director of Counterspace and Hans Ulrich Obrist, Artistic Director at Serpentine. 


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## ↓ Touring progrAMMe 

## FAiTh ringgoLD 

## **8 April 2021 – 24 October 2021** 

## **Glenstone, Potomac, Maryland USA** 

Glenstone Museum was the only US museum to host a major monographic exhibition of more than 70 works by American artist Faith Ringgold (b. 1930, Harlem, NY), including nine from the Glenstone collection, as part of a two-year international tour organised by Serpentine. 

## ForMAFAnTASMA 

## ArThur JAFA 

## **6 November 2021 – 21 February 2022** 

## **A series of utterly improbable, yet extraordinary renditions** 

## **Centre Pompidou-Metz** 

Jafa creates work that approximates the radical alienation of Black life in the West while seeking to make visible or emancipate the power embedded in modes of African expression. With reference points ranging from Fang sculpture to Mississippi juke joints, Duchamp’s urinal to jazz, he is a filmmaker with a unique understanding of how to cut and juxtapose a  sequence to draw out maximum visceral effect. 

## JenniFer pAcKer The eye iS noT SATiSFieD WiTh Seeing 

## **30 October 2021 – 17 April 2022** 

## **Whitney Museum of American Art, New York** 

Following the Serpentine exhibition, The Eye Is Not Satisfied With Seeing toured to The Whitney Museum of  American Art, New York. 

## JAMeS BArnor AccrA/LonDon: A reTroSpecTive 

## **MASI, Lugano: 13 March – 19 June 2022** 

## **Detroit Institute of Arts, Michigan: 28 May – 1 October 2023** 

Following the presentation at Serpentine, the James Barnor exhibition travelled to MASI, Lugano and will travel onto the Detroit Institute of Arts in 2023. A major survey of British-Ghanaian photographer James Barnor, whose career as a studio portraitist, photojournalist and Black lifestyle photographer spans six decades and records major social and political changes in London and Accra. 

## **3 December 2021 – 8 May 2022** 

## **Centro Pecci, Prato, Italy: 15 May – 24 October 2021** 

## **Museum fur Gestaltung, Zurich, Switzerland** 

_Cambio_ , from the medieval Latin cambium, ‘change, exchange’, is an ongoing investigation into the governance of the timber industry. The evolution of this form of commerce over time, and its tentacular expansion across the globe, has made it difficult to regulate. It grew out of the bioprospecting that took place throughout colonial territories during the 19th century, becoming one of the largest industries in the  world both in terms of the revenue it generates and  the impact it has on the planet’s biosphere. 

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_Island Social Club, Photo: Chiron Cole Photography_ 


## ↓ ArT & iDeAS 

Art & Ideas provides an in-depth exploration of the ideas behind our programmes and invites audiences to find out more about the artists we work with. 

## **Engagement:** 

|**Engagement:**||
|---|---|
|**Total visitors to A+I(up 34% on 2020/21)**|**46k**|
|**Returning visitors(up 19% on 2020/21)**|**11.3k**|
|**Total visits to A+I homepage **|**31.2k**|
|**Annualpageviews to A+Iposts**|**83.6k**|



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_Amal Khalaf, Serpentine Civic Curator, Civic Projects Community Welcome Morning, July 2021._ 

**Total number of reads 909** 

**Total number of reads 853** 

## everyThing i SAy iS True: JAMeS BArnor Through The LenS poeTic BiBLiogrAphy oF A neW generATion 

## **23 April 2021** 

## **8 July 2021** 

On the occasion of James Barnor‘s retrospective at Serpentine, curator and writer Bianca Manu spoke to young artists and photographers from West Africa and the diaspora about the enduring influence and legacy of the 92-year-old British-Ghanaian photographer. 

Performance artist _Kite_ used family ephemera and historical documents to consider truth in relation to Oglála Lak _ȟ_ óta knowledge systems. 

## ForeST DreAMing WiTh ALvA AALTo 

## BeLonging & unBeLonging: SuMAyyA vALLy & ADriAn LAhouD in converSATion 

## **18 May 2021** 

Eeva-Liisa Pelkonen explored the complex relationship between the wood designs of Alvar Aalto and the forests of his native Finland. 

## **1.1k 17 August 2021** 

## **Total number of reads** 

Adrian Lahoud, Artistic Director of the inaugural Sharjah Architecture Triennial in 2019 and Dean of the School of Architecture at the Royal College of Art in London sat down with this year’s Pavilion architect, Sumayya Vally, to explore their shared focus on hybridity as a way to expand the definitions of architecture and this year’s Pavilion design as a site of reclamation and refusal. The conversation began with a simple prompt: How do you see the city as a site of inspiration? 

**Total number of reads** 


**523** 

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**832** 

**Total number of reads 580** 

**517** 

## recipeS AS Archive 

## **October – September 2021** 

We spoke to three chefs based in London, Johannesburg and New York City for whom cooking and communion are closely linked - Angela Dimayuga, Maria Mitchell and Sanza Sandile. 

## **Number of readers in 2021-2022:** 

**Angela Dimayuga 450 Maria Mitchell 346 Sanza Sandile 564** 

## excAvATing The SociAL LAyerS oF LonDon 

## **16 October 2021** 

Sociologist, archivist and documentary filmmaker Colin Prescod has lived at the same address in West London since 1958. He has focused on Black British community struggles against racism and for belonging for over two decades. Here he mined Sumayya Vally’s extensive research into diasporic sites of meeting, organising and belonging across London, with particular focus on West London and Carnival. 

## inTerSpecieS coMMunicATion JenniFer pAcKer: The heAvy reSeArch iniTiATive (iScri): A LighTneSS oF BLAcK BreATh cephALopoD MAchine encounTer TinA M.cAMpT 

## **25 January 2022** 

## **23 February 2022** 

How can an octopus, in an encounter with artificial intelligence, transform our understanding of technological development? Alasdair Milne, a PhD researcher with Serpentine’s Creative AI Lab and the Department of Digital Humanities at King’s College London dived into the possibilities for creative interspecies collaboration between artists, AI and octopi. 

Renowned Black feminist theorist of visual culture and contemporary art, Tina M. Campt, recounted her time suspended in the immersive paintings of Jennifer Packer visiting the exhibition The Eye Is Not Satisfied With Seeing at Serpentine and The Whitney Museum of American Art 

## **Total number of reads** 

**Total number of reads over 7 weeks** 

## counTeriMAge eMAnueL ADMASSu 

## **15 October 2021** 

A founding partner of AD—WO and Assistant Professor at Columbia GSAPP, Emanuel Admassu’s teaching, research, and design practices examine international constellations of Afrodiasporic spaces. Inspired by Serpentine’s 2021 Pavilion, designed by Sumayya Vally, Counterspace, Admassu constructed a response drawing and essay reflecting on the ubiquitous and ephemeral nature of representation and constructing diasporic spaces. 

**Total number of reads 342** 

## hoLDing SpAce AcroSS crip TiMe LeAh cLeMenTS 

Holding Space Across Crip Time was a series of interviews between Leah Clements and other artists, curators and art workers, for whom navigating disability and intersectional struggles within an art context is an integral part of their practice. These conversations explored each person’s work, alongside a common thread of holding space for one another across ‘crip time.’ Asking the question, ‘How do we hold space for one another through crip time?’ involved enacting relationships within a flexible and responsive timeframe. The three-part series featured Leah Clements in conversation with: 

## **Number of readers in 2021-2022:** 

|**Number of readers in 2021-2022:**||
|---|---|
|**Rebekah Ubuntu**|**614**|
|**Taraneh Fazeli and K MacBride**|**508**|
|**Kyla Harris**|**480**|



## inviTATion To LiSTen: SophiA AL-MAriA AnD MeLiSSA BLAnchFLoWer WiTh nicK hAcKWorTh 

## **22 February 2022** 

Al-Maria and Melissa Blanchflower, Serpentine Curator of Exhibitions and Public Art, discussed Al-Maria’s taraxos commission with Nick Hackworth, Director of Modern Forms. Having first appeared online with Modern Forms in July 2021, the conversation was republished to celebrate the coming of Spring, and the announcement that Sophia Al-Maria would go on to participate in the 2022 Venice Biennale. 

## SerpenTine conSTeLLATion virTuAL TALK SerieS LeAh cLeMenTS 

The Serpentine Constellation virtual talk series continued into 2021, with the introduction of virtual tours and studio visits: 

## **Number of readers in 2021-2022:** 

**Virtual Tour of John Stezaker: The Edge of Pictures 26 January Private Tour of Cecily Brown at Blenheim Palace 4 February Rikrit Tiravanija X Hans Ulrich Obrist 11 March Lauren Halsey X Hans Ulrich Obrist 18 March** 

**Total number of reads over 5 weeks 108** 

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## ↓ Live progrAMMeS 

## r&D LAByrinThS FoLLoW The ArTiST 

## **5 May 2021** 

## **Live, Online, Event** 

Serpentine R&D platform and long-time collaborators _Trust_ launched a new series of short videos: _R&D Labyrinths_ . In each video, artists working with advanced technologies guided visitors through the back-end of the software interfaces they use to make their work. They revealed key technological and operational infrastructures. In this series, we discovered machine learning algorithms that allow for collaborative music composition, poetry machines and new spaces for consensus building. 

## **Engagement:** 

|**Engagement:**||
|---|---|
|**Twitch**|**376**|
|**YouTube**|**2.6k**|
|**Cygnet feature**<br>**Ricardo Saavedra**<br>**Rindon Johnson**|**1k**<br>**498**<br>**597**|
|**Total**|**3k**|



## Ain BAiLey: ATLAnTic rAiLTon pArT oF LiSTening To The ciTy 

## **26 August – 24 September 2021** 

## **Serpentine Pavilion** 

A new sound work by the artist Ain Bailey, Atlantic Railton takes its name from Atlantic Road and Railton Road in Brixton, South London. Home to significant Black British intellectuals and activists including C.L.R James and Olive Morris, both locations were also the meeting points for various social movements and community groups including the Black Panthers, Brixton Black Women’s Group, and where the Brixton uprising took place in 1981. Bailey drew on these histories, weaving familial and personal relationships with different sites of community organising that were active between the early 1970s to the early 2000s, including Brixton Neighbourhood Community Association, Big Up and Lambeth Women’s Project. 

- The piece brought together a series of intimate conversations led by the artist’s collaborators Sharon Elliott, Claudette Parry, Ego Ahaiwe Sowinksi and Marc Thompson that sonically reflected on the memories, actions and relationships held in these sites of community care and resistance. The sound composition was a constellation of the collaborator’s voices, new field recordings from the sites referenced, archival sounds of protest and traditional steel-pan songs played by Matthew Phillip from Mangrove Steelband. Atlantic Railton was a dedication to people and places no longer with us, tenderly evidencing the experiences of belonging and connection held in these spaces, which communities continue to feel the effects of today. 

## LAunch evenT: crySTALS oF ThiS SociAL SuBSTAnce pArT oF LiSTening To The ciTy 

## **23 July 2021** 

## **Serpentine Pavilion** 

Artist Jay Bernard was in conversation with participants from the fields of games design, economics, philosophy and writing for a playful and engaging group conversation about our relationships to money. Each of the participants were invited to present a proposition for a game about money in the 21st century, as a way to open up an imaginative discussion about our present economic reality and possible alternative futures. Contributors included Jay Bernard, Lola Olufemi, Marijam Didžgalvytė and Mijke van der Drift. The sound piece was subsequently installed in the Pavilion for visitors to listen to from July to August 2022. 

**Total number of attendees (in-person)** 

**34** 

## JAy BernArD: crySTALS oF ThiS SociAL SuBSTAnce pArT oF LiSTening To The ciTy 

## **25 July – 25 August 2021** 

## **Serpentine Pavilion** 

How does money affect our present day lives and how will it shape our future? Crystals of this Social Substance was a sound work by the artist Jay Bernard, commissioned by Serpentine Education for Listening to the City. The work was developed through a series of intimate workshops staged during summer 2021, in which the artist invited eight young people to talk about money. Bernard located the piece in the specific triangle of London’s Tulse Hill, Brixton and Herne Hill neighbourhoods, an area where they grew up, currently live, and situate as ‘a curious mix of deprivation and hyper-privilege.’ 

Together they played the ubiquitous capitalist board game _Monopoly_ , and the cult 1978 socialist board game _Class Struggle_ , to reflect on and question the world views the games propose. The afternoon workshops, which also encompassed visioning and free writing exercises created space for the young people to describe how it feels to live in their neighbourhood and think about how their experiences are mediated by global economic forces. 

The conversations, which revolved around class, economics and inequality, resulted in a new sound commission for the Serpentine’s Listening to the City programme. _Crystals of this Social Substance_ featured the voices of young people as they found the language to articulate their personal relationships to money and grapple with how and why it is unevenly distributed across the city. Crystals of this Social Substance was developed with young people from Alleyn’s School, The Baytree Centre, Brixton Youth Theatre, Dulwich College, High Trees Community Development Trust, and ML Community Enterprise. The young people were paid for their time. 

**Total engagement 17.8k** 

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## Ain BAiLey & iMAni MASon JorDAn: ATLAnTic rAiLTon pArT oF LiSTening To The ciTy 

## **10 September 2021** 

## **Serpentine Pavilion** 

This live programme was an extension of Bailey’s sound work, Atlantic Railton. Mason Jordan performed a lyrical response that draws on transcripts from Bailey’s commission, bringing in new reflections from spatial politics, architecture and Black geographies, alongside a constellation of voices, sounds and music from Bailey’s original composition. 

Following the performance there was a live DJ set by Rabz Lansiquot. 

**Total number of attendees (in-person) 30** 

## LucKy JiM'S concerT pArTy 

## **11 September 2021** 

## **Serpentine North Gallery** 

## **Live** 

An afternoon of music and activities that celebrated Barnor’s enduring creativity. Affectionately called _Lucky Jim_ , James Barnor radiates optimism. At 92, he swears by a regimen of maintaining good relationships and listening to music for his ‘ever young’ outlook. While photographing Ghana’s high society, comedians, yogis and aspiring musicians, Barnor managed bands and hosted concerts until dawn at his studio in Jamestown, Accra. The afternoon featured an acoustic tribute to the Ghanaian band and cultural troupe F _ɛɛ_ Hii, which Barnor managed for over twenty years performed by UK based west African drummers. British-Somali authors Amina Jama and Samatar Elmi  recited poetic responses to historic images taken by James Barnor in the gallery, presented in collaboration with flipped eye publishing. 

## no SignAL preSenTS: AFTer hourS 

## **11 September 2021** 

## **Serpentine Pavilion** 

## **Live** 

No Signal aimed to paint a map of sounds from across the Black diaspora. The British online radio station has been one of the few success stories amid the difficulties of the Covid-19 lockdown. Labelling themselves #blackradio, they play music from across the African diaspora that folds into the diverse spectrum of black British identity and are creating a space of community and relief for black Britons at a traumatic yet galvanising historical moment. For this event, each DJ played a set responding to some of James Barnor’s favourite songs, including Hi-life highflyers King Bruce, The Black Beats, E. T. Mensah, and South African sensation, Master KG amongst others. Included Afro beat and Afrobeats, Ampiano and Hip Life. 

**Total number of attendees (in-person) 130** 

## **Engagement:** 

**Pavilion 329 James Barnor at Serpentine North 535** 

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_Park Nights 2021: aga ujma. Photo: Holly Whitaker_ 


## ↓ pArK nighTS 

## pArK nighTS 2021 

**27 September – 16 October 2021 Serpentine Pavilion Live (limited capacity, Covid-19 restrictions)** 

**Boiler Room** 

Park Nights is Serpentine’s experimental, interdisciplinary, live platform sited within the Galleries’ annual architectural commission, the Serpentine Pavilion. Since 2002, Park Nights has presented new works across art, music, film, theatre, dance, literature, philosophy, fashion and technology. Each year’s commissions are conceived in response to the Pavilion and offer audiences unique ways to experience architecture and performance. The programme has supported many artists in the early stages of their careers as well as pioneering writers and thinkers from around the world. 

Serpentine partnered with Boiler Room to live stream performances due to social distancing regulations remaining in place from the pandemic and therefore reducing capacity. 

Devised during a period when rights to movement were restricted and the relationship to our bodies were being reconfigured, Park Nights 2021 reimagined what it meant to come together, witness and share through performance. Building upon Counterspace’s Pavilion design, based on gathering and community spaces throughout London, Park Nights unfolded as a series of intimate encounters within this structure. Through Serpentine’s unique position in the park, the programme offered a space for practitioners to engage audiences within a live context once again. 

Park Nights 2021 comprised a series of five commissions that took place in the Serpentine Pavilion 2021, designed by Sumayya Vally, Counterspace. 

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## AgA uJMA 

## **Friday 9 July** 

For Park Nights 2021, multi-instrumentalist, singersongwriter and composer, Aga Ujma, presented a new performance titled ‘sun was glazed in rainbow’ based on personal stories, poems, traditional Indonesian musical pieces, and compositions inspired by the Serpentine Pavilion and its character. Conceived as a transformative movement across two chapters, the performance shifted from an intimate solo set written for _sasando_ , an Indonesian 32-string bamboo zither and harp, to a more expanded Javanese ensemble of intricate gamelan instruments, including bronze xylophones, gongs, rebab – a bowed fiddle – and other various traditional and nontraditional percussion instruments. 

Based in London, Aga Ujma was recently signed to Slow Dance label and announced her debut EP ‘songs of innocence and experience’ via CLASH Magazine. Using an experimental approach to singing and composing songs, ujma mixes her classical music upbringing and folk influences from Poland with traditional music studies at the Indonesian Institute of the Arts in Surakarta, Central Java and SOAS University of London. 

**Total number of attendees (in-person) 24** 

## JoTA MoMBAçA 

## **Friday 16 July** 

For Park Nights 2021, Jota Mombaça presented ‘Can you sound like two thousand?’, a performative, experimental collective reading session. The piece encompassed an immersive installation in which the audience is encouraged to engage with a cacophonic reading programme designed by the artist that reflects upon the elemental agency of fire. The session was accompanied by a newly-devised sonic composition by Mombaça and sonic producer and researcher, Anti Ribeiro. 

Jota Mombaça is an interdisciplinary artist whose work derives from poetry, critical theory, and performance. The sonic and visual matter of words plays an important role in their practice, which often relates to anti-colonial critique and gender disobedience. Through performance, visionary fiction, and situational strategies of knowledge production, they intend to rehearse the end of the world as we know it and the figuration of what comes after we dislodge the Modern-Colonial subject off its podium. 

**Total number of attendees (in-person)** 

**29** 

## John gLAcier 

## **Friday 27 August** 

London born John Glacier has become an almost totemic figure within London’s underground music scene. Widely regarded as one of the UK’s most exciting and elusive talents, John’s officially released output is scarce. Despite scene-stealing features for Dean Blunt’s Babyfather project, Ragz Originale, and a handful of extremely well received online releases, her talents are somewhat of an urban legend. However, this is all due to change this summer with the release of her debut project. 

**Total number of attendees (in-person) 63** 

## rheA DiLLon 

## **Friday 17 September** 

For Park Nights 2021, Rhea Dillon presented Catgut – The Opera. Dillon’s libretto ruminates on the conditions and capaciousness of Black performance as experienced through the Black operatic. Taking its departure from The Masque of Blackness by Ben Jonson, a masque commissioned in the early 17th century by Queen Anne of Denmark, the queen consort of King James I, Catgut convened three orators in classic soapboxing fashion. Throughout the opera’s three acts — the essay, the poem, and the poethic — Dillon denounced the idea that the Black performing artist should or could ever exist in the mundane. The performance is accompanied by sound direction by James William Blades and includes an original composition by TWEAKS. Costumes designed by Jawara Alleyne. 

Rhea Dillon is an artist, writer and poet based in London. Through her practice she examines and abstracts her intrigue of the ‘rules of representation’ as a device to undermine contemporary Western culture, seeking to continually question what constitutes the ontology of Blackness versus the ontic. Recent exhibitions include Peak Gallery, London; Almine Rech, London; Drawing A Blank, Paris; External Pages, Online net artwork; Division of Labour, UK and Soft Opening, London. 

|**Total number of attendees(in-person)**|**19**|
|---|---|
|**Social Media Reach via Boiler Room:**||
|**Facebook**|**278.4k**|
|**Instagram**|**180.4k**|
|**Twitter**|**46.2k**|
|**BR.TV**|**9k**|
|**YouTube**|**826.9k**|
|**Total Reach**|**1.3M**|



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## ↓ oTher Live progrAMMeS 

## no SKy WiTh ToSh BASco 

## **Saturday 16 October** 

NO SKY was a durational performance by artist Tosh Basco. Named after the poem 'No Sky' by Etel Adnan from her book _TIME_ , the piece used poetry as a portal. Performed over the course of a half-day, NO SKY was a simple meditation on Time. 

Much of Basco’s work quietly frames performance as ritual. NO SKY invited audiences to slow down and enter a state of heightened attention where the body is a time travel machine; it slips and spins as the hours are lost, bleeding into one another. Basco conceived this performance as a gift in response to Sophia AlMaria’s sculpture, taraxos, which centred the dandelion as an emblem of freedom and resistance. Throughout No SKY simple movements scaled between the macro and micro and small gestures became epic and grand events mundane. 

_“A dandelion seed contains the whole cosmos. A wish is a form of travel. We are all a long way from home.”_ – Tosh Basco 

**Total number of attendees (in-person) 19** 

## SounD SySTeM SunDAyS AT The TABernAcLe 

## **10 October 2021 and 17 October 2021** 

In collaboration with Sumayya Vally of Counterspace, throughout September and October a series of live events took place at partner venues where the Fragments of the Serpentine Pavilion 2021 were placed. The series at the Tabernacle featured six sound systems played on selected Sundays co-programmed together with artist Alvaro Barrington and CEO of Notting Hill Carnival Matthew Phillip. 

**Total number of attendees (in-person) 29** 

## BLAcK ATLAnTic: SenSing The pLAneT, DArTingTon 

## **29 – 31 October 2021** 

## **Panel Discussion, Online Event, Live** 

A gathering on climate justice and the intersections of race, art and ecology, part of the Black Atlantic project. Leading thinkers, artists and activists gathered to launch Black Atlantic: a new decolonial cultural project at the intersections of race, art, ecology and climate justice. Timed to take place just before the intergovernmental climate conference COP26, Sensing the Planet highlighted issues of race and environmental harm as well as the role played by the UK, most prominently the south-west of England, in histories of slavery, empire and climate breakdown. It  also championed the role of interdisciplinary artists in imagining new futures built on principles of sustainability and justice. 

|**Total number of attendees(in-person)**<br>**Listeners via Soundart Radio Day 1**|**300**<br>**260**|
|---|---|
|**Listeners via Soundart Radio Day 2**|**280**|



## BeAconTree BroADcASTing STATion LAunch: LiSTening WiTh BriAn eno, SuMAyyA vALLy, Joe nAMy AnD DJ TATi (pArT oF rADio BALLADS) 

## **6 November 2021** 

## **Online, Live** 

To celebrate the launch of Becontree Broadcasting Station, an online community radio station serving the Becontree Estate and Borough of Barking and Dagenham, Serpentine 2021 Pavilion architect Sumayya Vally, artists Brian Eno and Joe Namy, and DJ Tati hosted a listening session at Valence Library. Featuring a selection of tracks, archival recordings and sound works that create alternative ways of experiencing changing cities through collective listening. Eno, Vally and Namy presented a variety of music, sound archives and broadcasts, to create alternative narratives of the city and unravel layers of sonic histories. Becontree’s DJ Tati played sound mixes throughout the session. 

## rADio rAFTS preMiere 

## **5 October 2020** 

An online premiere of sound pieces created by Rory Pilgrim with members from their RAFTS workshops for Radio Ballads. Introduced by Rory Pilgrim and Serpentine Civic Curator Amal Khalaf. 

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_Park Nights 2021: Jota Mombaca. Photo: Hugo Glendinning_ 


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_KAWS: NEW FICTION at Serpentine. GETTING THE CALL (2018) and WHAT PARTY (2020). © Jonty Wilde (courtesy KAWS)_ 

## ↓ neW pArTnerShipS 

**Partnerships with other organisations play an important role in bringing about new artworks and collaborations and expanding the reach of contemporary art to new audiences globally as well as supporting artists and exploring new artforms. A new series of programming partnerships were created that follow Serpentine’s series of unique collaborations bringing artists together with the latest technology which it launched with BTS in 2020.** 

## KAWS: neW FicTion SerpenTine x AcuTe ArT x ForTniTe 

## **18 January – 27 February 2022** 

Serpentine started 2022 with a multi-layered global project with the internationally acclaimed artist KAWS developed in collaboration with Acute Art and the online video game Fortnite. 

In his first major solo exhibition in London, NEW FICTION, KAWS (Brian Donnelly b.1974) presented new and recent works in physical and augmented reality at Serpentine North. The exhibition was presented in collaboration with Acute Art and curated by Acute Art’s Artistic Director, Daniel Birnbaum. A parallel digital version of the show launched simultaneously in Fortnite; a video game developed by Epic Games. 

## **Fortnite** 

A virtual recreation of the show was available in Fortnite, allowing millions of players from all over the world to experience the exhibition from anywhere. All built by the Fornite Creative community, players were able to explore the Serpentine gardens, interact with KAWS’ artworks and experience his iconic sculptures in a completely new way. 

## **Acute Art App** 

In addition to the Fortnite collaboration, the Acute Art app offered a bridge between each of the different worlds. All the paintings and sculptures in the exhibition as well as a miniature version of the entire show existed as AR works on the Acute Art app and could be placed and viewed at home by viewers globally. They could also be shared on social media, making KAWS’ art visible across the world. 

Serpentine gratefully acknowledges the support of the Skarstedt Gallery, Acute Art and a number of project partners. 


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_Power Pack: Climate Emergency, by Jacob V Joyce and Rudy Loewe, 2021. Design by Shining Studio. Serpentine Education. Photo: Mike Din_ 


→ LeADing A→ pioneering ↓↓ eDucATionAL progrAMMe 

## ↓ eDucATion & civic proJecTS 

**Serpentine Education and Civic Projects redefine the role of the arts during periods of transition and social change. We connect communities, artists and activists to generate responses to pressing social issues. The programme is guided by four questions:** 

- How can we work in solidarity with those facing struggles around racism and migration? 

- How do we care in times of austerity? 

- How can we survive an increasingly competitive schools system? 

- How do we navigate an increasingly surveilled and gentrified city? 

We believe arts education is a necessity for children and adults alike. Collaborations between artists and our diverse communities can make positive changes to those communities and to society at large. Serpentine Education and Civic Projects programme seeks to redefine the role of the arts in times of transition and social change, addressing issues such as migrant rights, care, schooling and labour with individuals and groups excluded from the decision-making processes that shape the places where they live and work. The programme is grounded in a long-term study of radical pedagogy and is made up of ongoing commissions and workshops series, alongside toolkits and resources for change. 

Between April 2020 and March 2022, our Civic and Education teams supported 61,680 educational encounters, distributed 2192 resources and produced podcasts that were listened to 14332 times. We define encounters as everyone with whom we make personal contact at workshops and events plus the number of activity packs or toolkits distributed in person. 

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_Jasleen Kaur with the Portman Early Childhood Centre Everyday Resistance 2019 A Changing Play commission by the Serpentine Galleries Design: Cecilia Serafini Photograph: Lucy Parakhina_ 

## ↓ eDucATion 

During 2020/21 and 2021/22, our Education team responded to the needs of children, young people and educators across the city. We co-produced a decolonial resource for educators, _Sweet Rebellion_ , responding to the issue of digital poverty by creating and sharing bespoke artist produced printed resources with 10,000 young people living with food insecurity across the city. We also commissioned a sound piece developed with young people for the 2020/21 Pavilion and translated our work with families newly arrived in the country and those experiencing the impacts of the housing crisis to an online format. The Education team supported 30,265 educational encounters in total. 


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## ↓ crAcKS in The curricuLuM 

## #4 SWeeT reBeLLion 

_Cracks in the Curriculum_ is a workshop series and publishing platform for teachers that aims to bring artists and educators together to think about how to address pressing social issues in the classroom. 

In October 2020, Serpentine launched _Sweet Rebellion_ , the fourth resource in the series, offering a series of activities looking at the histories of rebellion on British Caribbean plantations through drawing, discussion, group investigations and further study. The resource features an illustration by Rudy Loewe and Jacob V Joyce, depicting people who have resisted British colonial rule and injustice. 

The resource is available to download from Serpentine’s website and an A2 printed classroom poster is also freely available for teachers to request and we shared via a social media campaign and mail out to 9000 teachers across the UK. In total, 1000 Cracks in the Curriculum resources were downloaded or requested by post during this period. Sweet Rebellion was launched with an inconversation event with Jacob V Joyce and Rudy Loewe, which is available online. The conversation has so far had 304 YouTube views. 

_“History often ignores people who fought for their own freedom and instead focuses on the idea of a saviour or hero who comes to the rescue. This takes away the importance and power of key figures, some of whom this resource aims to celebrate.”_ 

## **Jacob V Joyce and Rudy Loewe** 

## chAnging pLAy 

We continue to develop multi-year embedded artist commissions in partnership with the Portman Early Childhood Centre, a place that provides education, care and family support services for young children and their families living in an area of Westminster where over 50% of children live in poverty. 

## everyDAy reSiSTAnce 

Since 2018, mothers and children from the Portman Early Childhood Centre have worked with artist Jasleen Kaur, using the micro-politics of cooking and eating together to collectively consider and respond to issues facing the local community. Adults and children make bread together, learning a culturally significant recipe from a different group member each week. 

Through the project, the group asks: _‘How can cooking and eating be an act of resistance?’, ‘How can we create a network of care to support ourselves and others?’_ and _‘How can we take up space and make our voices heard when the government is systematically working on the removal of us?’_ 

In September 2019, mothers and children met at Speakers’ Corner in Hyde Park to celebrate the project with a picnic using specially designed blankets, featuring words and images from workshops. Following the event, the blankets were shared with the Portman and participants. 

Emerging from this process, the group produced a booklet designed to create a network of support for POC and migrant new mothers in Westminster who feel illequipped in dominant culture. The booklet centres the experiences of women of colour and provides sources of support. It was  distributed via health visitors in NHS new parent packs throughout Westminster in September. 

We hope the booklet will support new mothers to: 

- Understand the services that are available and how to access them 

- Feel empowered to access services and ask for support 

- • Identify strategies to support themselves through a difficult life transition 

- Feel less isolated by reading the experiences of other women 

## Which WAy noW 

Artist Sam Curtis has been working with children and early years workers from the Portman Early Childhood Centre, North Westminster since June 2018. 

Inviting children to lead a series of walks through the neighbourhood, the project addresses a number of questions: _What do child-led walks tell us about children’s experience of the city and their relationship to it? How does managed risk open up children’s experience of the world? Can we learn to re-think the city by listening to children as they navigate the local area?_ Findings from the project plan to be presented as a full colour book and toolkit developed in partnership with educators across the UK in Spring 2022. 

Changing Play is an ongoing partnership with the Portman Early Childhood Centre in Westminster, which brings together artists, children, families and educators to critically reconsider early years education and care. 

Sam Curtis is an artist and curator based in London. Collaborating with a range of people from diverse areas of work and life, he develops projects that provoke, question or subvert our ideas around creativity, economy and labour. Building relationships and trust are key to the conversations he fosters; from which unexpected collaborations grow. For over ten years he has used his day jobs as platforms or starting points from which to develop practice and projects. This has been a useful way to navigate precarity and has become a vehicle for inhabiting the grey areas and permeable boundaries between art and life. Informed by two years working as a fishmonger in Harrods, he now runs the Centre for Innovative and Radical Fishmongery, 

an organisation that explores how fishmongery intersects with art, individuals and society. 

During a six-year period working in education as an outreach tutor within the homeless sector, he co-founded and facilitated Seymour Art Collective (2009-on-going), a group of artists who have experienced homelessness. He currently works as a curator at the Bethlem Gallery situated within the Bethlem Royal Hospital, the gallery supports artists with lived experience of mental illness. Sam graduated from Goldsmiths MFA programme in 2008 and has exhibited across the UK, Europe and the USA. His work is represented by Division of Labour. 

The Portman Early Childhood Centre provides education, care and family support services for young children and their families living in the Church Street area of Westminster, North London. These include a nursery school, adult education classes, family support, employment services, parenting groups and workshops. 

## LiKe coMing hoMe 

Families from the Portman have been taking part in online workshops with writer and filmmaker Ed WebbIngall, exploring relationships to ideas of the home. The UK is experiencing a housing crisis, with entrenched issues such as overcrowding and insecure temporary accommodation, exacerbated and made visible by the Covid-19 pandemic. The project centres the lived and everyday experiences of people who feel the impacts of changes in housing policy and bureaucracy most acutely and asks: _‘Who is the housing system benefitting?’_ and _‘Who makes the rules and decisions about the way we live?’_ 

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_One of My Kind (OOMK) Family Day: Money Machine, Serpentine Education, Photograph: Manuela Barczewski_ 

## FAMiLy progrAMMe 

Artists Jacob V Joyce and Rudy Loewe are the Serpentine Families Artists in Residence commissioned to develop a pack for children in alignment with _Back to Earth_ , the Serpentine’s multi-year programme that invites practitioners to respond to the climate emergency. 

The artists created _Power Pack: Climate Emergency_ , a pack that centres and amplifies BIPOC (Black, Indigenous People of Colour) environmental campaigners from around the world and invites young people from London and beyond to respond with environmental issues that are personal and local to them. It features illustrations of the activists and drawing activities that support children and young people (aged 7-14) to think of the actions they can take in response to the climate. 

The pack was developed during the pandemic and responded to the growing digital exclusion that many young people experience, meaning they have limited or no access to internet, laptops or other smart devices. The team partnered with _Kitchen Social_ , a Mayor's Fund for London Project, which responds to the growing issue of food insecurity in the capital, supports community groups already working with children and young people to provide healthy food and a range of social development activities and lobbies for system change. The pack was distributed via Kitchen Social in April 2021 and a further 2000 people in the Pavilion. 


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_Rory Pilgrim, RAFTS, Barking and Dagenham Youth Dance, Production Still, 2021. Photo: Matthew Ritson_ 

## ↓ civic proJecTS 

**Our Civic team were incredibly busy throughout 2021 – 22. We managed an inaugural fellowship for ten artists and collectives through Support Structures for Support Structures, a listening commission as part of Listening to the City and worked towards the creation of an exhibition across two sites, working with a dozen community partners and over 500 community stakeholders through four distinct workshop series and production sessions for Radio Ballads.** 

Serpentine Civic supported 22,896 encounters and 90 workshops and through our Radio Ballads project in two boroughs. We shared our work with the wider public and cemented our position as a sector leader in commissioning community-based collaborative art projects with a social impact. Exhibition visitors numbered a further 8427 at both sites at Barking Town Hall and Serpentine North, demonstrating the impact of the work travelling beyond our stakeholders who were part of the in-depth workshop processes. 


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## ↓ rADio BALLADS 

**In the lead up to the Radio Ballad’s exhibition (opened 31 March 2022), Serpentine and the London Borough of Barking and Dagenham continued to partner to commission artists Helen Cammock, Rory Pilgrim, Ilona Sagar and Sonia Boyce to lead participatory projects examining the future and histories of care and work. Comprising workshops and production that lead to the creation of four films that would make up the exhibition at the Serpentine and in Barking, between April 2021 and March 2022, the Radio Ballads artists led 81 in-depth workshops, and six public events about the project and the launch of the exhibition at Serpentine North and in Barking Town Hall. The workshops connected social workers, care workers and informal carers with those receiving care, and a focus of the workshops was to think about how we can be a part of changing social work practice and fostering genuine exchanges with those caring for our city and with artists.** 

The programme included: 

- Workshop series by all four artists at various sites across Barking and Dagenham, including the Boathouse Studios, Barking Learning Centre, Valence Library, Becontree Broadcasting Station and Ripple Road Community Centre amongst others. 

- Collaboration with the London Contemporary Orchestra and initiating three choir groups as part of Radio Ballads. 

- Civic Curator and Associate Civic Curator taught four courses as part of Goldsmiths’ College CPD in Creative Social Work as part of Department of Social Therapeutic and Community Studies. 

- Launching a community radio station in partnership with Barking and Dagenham Council and supporting nine training events for the local community, building capacity at a community level to develop more cultural activity made by and for the local community. 

- Creation of four films about mental health, grief, domestic abuse, asbestosis and bodily risk as well as a focus on carers, and who cares for whom. 

_“We had a practice visit yesterday with our Pause National lead, we spent the afternoon reflecting on our journey with you all, highlighting the richness of the experience and everything that we learnt about ourselves and our women.  Thank you for working so sensitively with our women and for helping them to rediscover their voices and to feel empowered. The whole experience has been amazing, and I’m pleased to hear that it’s not the end of our time together.”_ 

**Georgia, social worker, Pause, March 2022** 

_“Following our workshops, having the conversation with A today , about how her voice will impact on mental health services in Barking and Dagenham meant a lot to her. That her journey which was made into a case study presented at a strategic level meeting and to a wider public, which featured the lack of access of services and the circular nature of recommendations to women to “heal thyself”. When we heard the impact of her case study on the heads of service and a subsequent change in procedure, I cried.  Through this project, A’s voice and the legacy of her voice the legacy of one of my other women D, who died last year will have an impact. Their pain , their journey , in D’s case – her death , will open doors for future women."_ 

**Sarah Boosey, Pause Practitioner, March 2022** 

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## ↓ SupporT STrucTureS For SupporT STrucTureS 

## **May 2021 – April 2022** 

_Support Structures for Support Structures_ is a new fellowship programme initiated by Serpentine, supporting up to ten artists and collectives working at the intersection of art, spatial politics and community practice. The fellowship consisted of an unrestricted grant of £10k to develop creative ideas. It will also invite grantees to join an interdisciplinary network for support, development workshops and mentoring. It is conceived in collaboration with Sumayya Vally, the architect behind this year’s Serpentine Pavilion Designed by Sumayya Vally, Counterspace, and Serpentine’s Civic Projects programme. 

The fellowship was awarded through a nomination process and a selection panel selected fellows in July 2021: Sepake Angiama, Director, Iniva; Pooja Agrawal, CEO, Public Practice; Leopold Lambert, Editor in Chief, The Funambulist; Rita Keegan, Artist and Sumayya Vally, Counterspace. The panel was chaired by Amal Khalaf, Civic Curator, Serpentine. The awarded fellows were: 

## BArBy ASAnTe 

An artist, curator, educator and healer in training. Her practice is concerned with the politics of place, space and the ever-present histories and legacies of slavery and colonialism. Her work explores memory and archival injustice through re-collecting, collating, excavating and mapping stories and narratives, through collective writing, re-enactment and creating spaces for transformation, ritual and healing. With a deep interest in Black feminist and decolonial methodologies, Barby also embeds within her work notions of collective study, countless ways of knowing and dialogical practices that embrace being and breathing together. 

## BeverLey BenneTT 

An artist-filmmaker whose work revolves around the possibilities of drawing, performance and collaborative experiments with sound. Her practice is connected to multiple ways of making. The first of these is a concern with the importance of sound in art, the second is an investigation into the idea of The Archive and the third is collaboration. Frequently through socially political work with other creatives, fine artists, community members, young children, and their families, Bennett’s practice provides spaces for participants to become collaborators. She provides a point of focus from where to unpack ideas around what constitutes an art practice and for whom art is generated. 

## JAcoB v Joyce 

Jacob V Joyce is a non-binary artist with a community facing practice that amplifies and nourishes both historical and emerging queer and decolonial narratives. Joyce’s work ranges from afro-futurist world building workshops to mural painting, comic books, performance art and punk music with their band Screaming Toenail. Joyce has self-published a number of books and illustrated international human rights campaigns for Amnesty International and Global Justice Now. Their work has been published by Penguin Books, BBC News as well as in national newspapers. They have completed residencies at Gasworks, Tate Galleries Education department, Nottingham Contemporary and Serpentine Gallery. In 2019 they were awarded TFL Arts Grant to paint a radical Black women’s history mural in Marcus Garvey Park Hammersmith and Fulham which is now a learning resource for two local schools. 

## ABBAS zAheDi 

An interdisciplinary artist whose practice blends contemporary philosophy, poetics, and social dynamics with performance, sound, sculpture, and moving-image. With an emphasis on how personal and collective histories interweave, Zahedi makes connections whenever possible with people involved in the particular situations which he focuses upon, inviting these others into the conversation in his work. 

## BLAK ouTSiDe 

A multidisciplinary creative collective providing culturally diverse and inclusive events. The annual Blak Outside Festival is a grass roots, intergenerational event supportive of working-class social housing residents and the QTIBIPOC (queer, trans, intersex, Black, indigenous, people of colour) community. Carole Wright, founding member of Blak Outside, is a creative urban activist and community gardener. Blak Outside builds on thirty years of Carole’s community work serving underserved communities. 

## FerArTS coLLecTive 

An artist-led collective platforming underrepresented and socially-engaged creatives under 30. A growing community of 48 artists from across inner city London founded in 2014 by West London street photographer and curator Amanda Fernandez. 

In the words of their founder Amanda Fernandez FerArts’ _“work champions issues that have limited institutional support, where marginalised voices are in the minority. Creatively we platform these issues for wider audiences and invite open dialogue which manifests a momentum for change on a larger scale, we collaborate with advocates, community leaders, grass root organisations and change makers - making small changes for a step closer to justice, liberation, truth.”_ 

Recent collaborative projects include ‘Collecting Ends’ for Curating London with Eddie Otchere 2020, ‘Vent’ for Vice and the Borough of Culture 2020, Shubbak Festival with Aicha Beloui 2019, ‘LBG x Larache’ with Hassan Hajjaj 2018 and ‘Youth After Grenfell’ with ID x Juergen Teller 2018. 

The collective are also creative mentors for UAL and Goldsmiths University fieldwork placements, supporting final year students in community arts, anthropology and youth work. 

## nAWi coLLecTive 

Nawi Collective is a London based Black women, gender queer and non-binary vocal collective, who sing for justice and to reclaim joy. They utilise song as a portal to preserve their traditions, praise their ancestors and to connect and commune with each other. The spaces they create together when they sing offer powerful healing amidst a world that does not care for or foster the innate power, love and radical possibility they each hold. The collective has become a community of artists, activists and creative beings who regularly collaborate to heal, learn and grow. Black liberation, disability justice, trans and/or queer liberation and housing rights are some of the guiding principles that form a key part of their politics and practices. You can find them singing at protests and lending support to local and global struggles for change. Their work also manifests in other ways, such as creating poetry together, communing with Black feminist elders, writing their own songs and fundraising through the Nawi 4 Malawi campaign. 

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## oTher cineMAS 

A multidisciplinary project focused on the transformational power of film; whether that is sharing Black and non-white films in ways and spaces that aren’t alienating to their communities; creating networks for Black and non-white creatives to work, learn and collaborate; or using film to document the stories of Black and non-white communities locally and internationally. Other Cinemas was founded by Turab Shah and Arwa Aburawa, two filmmakers committed to the collective work of imagining and supporting collaborative and radical ways of making and sharing films. They are based in Brent, and host free film events in the community (and online) as well as organising discussions and debates. Other Cinemas also runs a film school for Black and non-white aspiring filmmakers which focuses as much on teaching as creating a space for mutual support. Turab and Arwa are currently working on two film projects: an upcoming project exploring the Pakistani migrant experience in Burnley and a project documenting the creation of Black-led community spaces in the context of gentrification, loss and austerity. 

## SKin Deep 

Skin Deep makes space for Black creatives and creatives of colour to work towards justice through cultural production. Through their live events, online platform and print magazine, they build capacity for artists and activists in London and globally to think beyond crisis and survival, and dream of just futures. Predominantly Black and POC-led, Skin Deep has occupied a unique space in the media and arts landscape since 2015. They produce and curate work that centres hope, joy and lasting meaningful change. They always take the long view, tapping into deep currents that flow from generations past to worlds yet to come – both in the stories they facilitate and tell, and in the long-term relationships they build with contributors, partners and their wider community. 

Their small team of producers, writers, filmmakers and editors deliver high-impact creative projects, with the help of their network of Black and POC artists, writers, musicians, dancers, poets, filmmakers, designers, architects, organisers and activists. 

They’ve been commissioned to create work, run workshops and facilitate creative spaces by Bush Theatre, ICA, Southbank Centre, Autograph ABP, Counterpoints Arts / OKRE, Barbican, Tate Modern, Free Word Centre, Doc Martens, Toynbee Hall and Channel 4. They want the work we do to contribute to a different kind of scaffolding and support for their communities (both local and global), that will build capacity, redistribute resources, and contribute to a legacy of hope, justice and creativity. The Skin Deep team is Anu Henriques, Sylvia Hong, Nkenna Akunna, Georgie Johnson and Hannah Azuonye. 

## reSoLve coLLecTive 

An interdisciplinary design collective that combines architecture, engineering, technology and art to address social challenges. They have delivered numerous projects, workshops, publications, and talks in the UK and across Europe, all of which look toward realising just and equitable visions of change in our built environment. 

Much of their work aims to provide platforms for the production of new knowledge and ideas, whilst collaborating and organising to help build resilience in our communities. An integral part of this way of working means designing with and for young people and under-represented groups in society. 

Here, ‘design’ encompasses both physical and systemic intervention, exploring ways of using a project’s site as a resource and working with different communities as stakeholders in the short and long-term management of projects. For us, design carries more than aesthetic value; it is also a mechanism for political and socioeconomic change. 

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Three gatherings were organised between September 2021 and February 2022, alongside five workshops related to community care and trauma informed practice that were offered as options and were fully attended. Their intention was to create a space where fellows could get to know each other, share experiences and grow their networks as well as receiving mentorship and regular meetings and studio visits with Civic Curator Amal Khalaf. 

_“It's the words ‘support structures’. You don't recognise how much you need that until you're actually in it and you're like “Whoa, that's what it feels like to be held for once. This fellowship has cultivated a new layer of resilience, confidence and energy to continue building our collective, to prove this structure of community can work, to make these spaces accessible and visions possible. We have been surrounded by incredible inspiration, and new connections that fortify our networks across London but also help build and create new opportunities for everyone involved. This is a major non - monetary element of the fellowship that brings great value to all the fellows, especially as we are all recognised for supporting structures in our own communities/ spaces. It's refreshing to be held, encouraged to rest and now take the next step with even more determination, passion and advocacy.”_ 

_“One thing that I really liked about how the proramme was managed was [that] it felt like it evolved naturally with people’s availability and interests. For the whole experience I think that way of management where it was left a bit like open ended and unfolding as we go it’s a really useful thing to have.”_ 

## **Abbas Zahedi, artist** 

_“It feels like we've gained so much in terms of people and places we can go to for advice, which is so necessary and [...] valuable for the work we're doing. It's so nice to tap into people who've been doing this for longer than us, who can share their experience. Because actually that's something that we feel like it's one of the scarcest resources that we face: [...] knowledge and experience.”_ 

**Arwa Abu Rawa, Other Cinemas** 

## **Amanda, FerArts** 

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_Crystals of this Social Substance: the conversation, Jay Bernard and Lola Olufemi, 2021. Image Credit: Talie Rose-Eigeland_ 

## ↓ LiSTening To The ciTy 

## _“The Pavilion proposes a holding place –_ 

_holding the ambition of a performative, political intervention, a pavilion which speaks of multiple acts of home; holding stories, energies and histories of movement – and the myriad ways in which people have made a city a place to take hold and, in turn, a place in which to be held.”_ 

## **Sumayya Vally, Counterspace** 

The Listening to the City programme engaged with a set of sonic landscapes from selected London neighbourhoods, paying attention to existing and lost spaces of gathering and belonging, with particular relevance to migrant communities across the city. 

Conceived as a summer programme from July – September 2021 developed by Serpentine Education, Civic Projects and 2021 Pavilion architect Sumayya Vally, the programme of sound commissions, workshops, education packs and listening sessions offered ways of listening to the city. At a time when personal listening devices have become ubiquitous, shared spaces to listen are increasingly rare. If how we listen determines what we hear, this programme encouraged us to unplug, slow down, and embrace modes of active listening, making connections between histories of struggle, community care and organising. 

As part of the programme we worked in collaboration with artists Ain Bailey, Jay Bernard, collaborative publishing practice OOMK, the Becontree Forever Arts and Culture Hub at Valence Library, Radio Ballad’s partner New Town Culture, London Borough of Barking and Dagenham and young people’s organisations in South London. 


## DoSh 

## **August – 17 October 2021** 

## **Free onsite pack** 

## **Serpentine Pavilion** 

Developed by Jay Bernard in collaboration with OOMK and Serpentine Education, DOSH is a deck of cards about money and the way it shapes our world, for 7-14 year olds. 8000 copies were distributed in the Pavilion and through to young people experiencing food insecurity through a new partnership with Westminster and Kensington and Chelsea Council. 

## LiSTening To The ciTy DAy 

## **24 July 2021 and 14 August** 

## **Serpentine Pavilion** 

- Community Morning, Serpentine Pavilion was closed as we welcomed invited community groups to visit. 

- Family Day: Money Machine, One of My Kind (OOMK) invited children and their families to design and print their own currency in the Serpentine Pavilion. Family Days were free, drop-in events suitable for families with children aged 7-14. 

## SounD coMMiSSion, Ain BAiLey: ATLAnTic rAiLTon 

## **26 August – 24 September** 

## **Daily, Serpentine Pavilion, Designed by Sumayya Vally, Counterspace** 

A new site-specific sound piece by Ain Bailey, inside Serpentine Pavilion. 

**17.8k** 

**Engagement** 

## perForMAnce: Ain BAiLey AnD iMAni roBinSon JorDAn: ATLAnTic rAiLTon 

## **10 September** 

## **Serpentine Pavilion, Designed by Sumayya Vally, Counterspace** 

A site-specific performance in the 2021 Serpentine Pavilion. 

**Engagement 90** 

**Total number of attendees (in-person) 120** 

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**Engagement 30** 

## LiSTening SeSSion: BeconTree BroADcAST STATion 

## **6 November** 

## **Valence Library** 

Live listening sessions with Sumayya Vally and invited artists. 

## BeconTree BroADcASTing STATion 

Becontree Broadcasting Station was a partnership between Serpentine and London Borough of Barking and Dagenham as part of Radio Ballads. An open and inclusive radio platform for the local community, it offered free workshops, and a chance to develop your own radio show. 

## SerpenTine civic TeAM AnD LonDon Borough oF cuLTure / neW ToWn cuLTure 

Radio Ballads was commissioned in partnership with New Town Culture, a Cultural Impact Award-winning project, part of London Borough of Culture, a Mayor of London initiative. New Town Culture is a pioneering programme curated by the London Borough of Barking and Dagenham to develop artistic and cultural activity as a core part of social care services. The programme explores how artistic and cultural experience can reframe the work of social care and support adults and children using these services. By embedding art and culture in the core business of local authority services, New Town Culture proposes systemic change. New Town Culture encompasses research, projects, exhibitions, publications, tools for practitioners, residencies, workshops, training and knowledge exchange to bring together creative and social practitioners in their work. 

## **Radio Ballads Project Partners:** 

- Barking Dagenham Youth Dance 

- Barking and Dagenham Domestic Abuse Commission 

- • Clean Break 

- Green Shoes Arts 

- Hodge Jones and Allen Solicitors 

- Interfaith Sanctuary Shelter 

- Kitchen Social 

- LBBD Children, Young People and Families Services 

- LBBD Disability and Life Planning Services 

- LBBD Temporary Accommodation and Hostel Services 

- LBBD Integrated Care 

- LBBD Pause 

- Leigh Day Solicitors 

- London Asbestos Awareness Group (LASAG) 

- London Contemporary Orchestra 

- PEARL (Person-Environment-Activity Research Laboratory) 

- Radio Active 

- The White House 

- Westminster Council 

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_Hivemind by Trust members Calum Bowden, Will Freudenheim and Joanna Pope, (In Game Still), 2021._ 


→ LeADing → ArTiSTic DigiTAL � TrAnSForMATion 

This artist-led programme proposes critical and interdisciplinary perspectives on the role of emerging technologies. As we stand at the brink of the next technological revolution, Serpentine is committed to supporting new experiments in art and technology, challenging and shaping its role in our cultural and social landscape. We work with artists to realise new works that consider emerging technologies as a medium, a tool or a topic that can operate beyond the gallery walls. Through exploring artificial intelligence, blockchain, robotics and drones, biotechnology and immersive technologies, our Arts Technologies programme examines the critical impact of these innovations on the way we work, think and collaborate. 

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## ↓ ArTS TechnoLogieS 

Serpentine’s Arts Technologies programme proposes critical and interdisciplinary perspectives on advanced technologies through artistic interventions. Challenging and reshaping the role that technologies can play in culture and society is part of our commitment to supporting new artistic experiments at what has now become an historical intersection. The programme initiates and supports artists in developing ambitious artworks that deploy advanced technologies as a medium, tool or topic, often operating beyond gallery walls. The foundation of the Arts Technologies programme sits within an evolving R&D Platform that supports the development of infrastructures for ongoing artistic exploration and interrogation of advanced and emerging technologies. 

## ↓ SerpenTine r&D pLATForM 

Serpentine’s Research and Development Platform is a space where our institution’s ‘back-end’ (operations, protocols, in-built values) and ‘front-end’ (what we produce) are brought into experimental realignment. In today’s environment of hyper-production and accelerated change, arts organisations need a  reflexive space that allows for thoughtful and conscious advancement. 

Historically, art has frequently taken the form of social risk-taking and thus an undercover engine of ‘innovation’, presenting a distinctly different paradigm for innovation to the fields of science and technology. Meanwhile, the importance of arts organisations as scalable sites for dedicated artist-led research and development is only now becoming apparent. 

The R&D Platform at the Serpentine grows organically from the organisation’s long-standing commitment to advancing new forms of cultural production. The R&D Platform is built on inter-operable modules that manifest themselves in capacity-building workshops for the wider sector, roundtables and summits bringing experts from different fields to develop an art-field specific view on innovation, and precedent-setting artworks that challenge conceptions of what art is and where the boundaries of art’s impact lie. 

Some of the questions guiding the development of the R&D Platform include: 

- How can art institutions become better at identifying and harnessing their evolving capabilities? 

- • What will the core values of cultural production be in 2050? 

- How can greater focus on infrastructural care and design help build a more resilient and socially significant cultural field? 

- What can the full stack of contemporary artistic production (i.e., all stages of a project’s development) teach arts organisations and other fields about  innovation? 

- What new organisational processes would be required for the art field to develop more meaningful and longterm relationships with other fields invested in seeking answers to today’s most challenging questions? 

- How does the art field claim an active position in shaping future technologies that yield significant impact on contemporary and future societies? 

As a critical module for in-depth engagement with these questions, our R&D Labs provide infrastructural support for collaborative research, targeting specific questions and devising operational propositions. Current labs include _Legal Lab_ , led by Alana Kushnir, Director of Guest Work Agency, _Blockchain Lab_ , led by Ruth Catlow, Co-Founder and Co-Director of Furtherfield and _DECAL DeCentralised Arts Lab_ ; _Creative AI Lab_ , led by Eva Jäger, Curator, Arts Technologies and Mercedes Bunz, Senior Lecturer in Digital Societies at King’s College; Synthetic Ecologies Lab led by Yasaman Sheri, Creative Director & Designer. Although emerging from Serpentine, the R&D Platform is a constantly growing community of individuals and organisations without whom it would not be a reality. 

## r&D pLATForM neWSLeTTer 

## **Ongoing** 

The R&D Platform newsletter was initially launched in July 2020 with a growing subscriber base reaching 1.9k readers monthly. It is dedicated to communicating the Arts Technologies programme together with information from the wider sector. 

## creATive r&D WorKing group 

## **Ongoing** 

Established in collaboration with _National Gallery X._ , the objective of our Creative R&D Working Group is to establish a UK-wide inter-organisational working group for advancing R&D in the cultural sector by bringing together cultural actors, technology fields, research institutions and policy to openly discuss and devise a path to action. 

Its trajectory is to cement a common understanding of advanced technological development within the cultural sphere that supports the implementation of appropriate policy and the necessary incentives to sustain and mature this work. 

## DocTorAL reSeArch coLLABorATionS 

## **Ongoing** 

The Arts Technologies programme at the Serpentine supports and facilitates both practice-based and academic doctoral research projects in collaboration with leading research centres and universities in the UK and beyond. The programme is currently hosting two doctoral research projects: 

- Victoria Ivanova (2018-21): _From Institution to Platform: Organisational Structures and Arts Practices in Network Cultures_ is a partnership with the Centre for the Study of the Networked Image (CSNI) at the London South Bank University as part of the R&D Platform. 

- Alasdair Milne (2020-23): LAHP/AHRC-funded Collaborative Doctoral Award at King’s College London Department of Digital Humanities in collaboration with Serpentine’s R&D Platform. This studentship commenced in October 2020 on the topic of creative AI as a medium in artistic and curatorial practice. 

## ArTS TechnoLogieS TWiTch 

## **Ongoing** 

The Arts Technologies Twitch channel, launched in July 2021, hosts live, interactive conversations and projects with artists, thinkers, collaborators and co-conspirators from our R&D labs, Arts Technologies network and growing audience. 

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## ↓ FuTure ArT ecoSySTeMS: ArT x MeTAverSe (FAe2) 

Future Art Ecosystems (FAE) is an annual strategic briefing that provides analytical and conceptual tools for the construction of 21st-century cultural infrastructure: the systems that support art and advanced technologies as a whole and respond to a broader societal agenda. 

The advent of the metaverse—an always-online ‘second’ world and emerging internet megastructure—represents a fundamental shift in our notion of digital systems and physical presence. In this context, FAE2 outlines what is required from 21st century cultural infrastructure in order to shape the metaverse’s evolution. 

The second issue of Future Art Ecosystems (FAE2) is produced by the Serpentine R&D Platform in collaboration with Rival Strategy and Guest Producer, Luke Caspar Pearson. Engaging with over fifty practitioners and organisations across art, film, gaming, technology and wider cultural industries, FAE2 articulates the challenges and opportunities that institutions face in this landscape. Contributors to FAE2 include artists Larry Achiampong, David Blandy, Danielle Brathwaite-Shirley, Joey Holder, Rindon Johnson, Keiken; Dr Jo Twist OBE, CEO of UKIE; Andie Nordgren, Producer and Director of Unity Live Platforms; Lucy Sollitt, Curator; Jay-Ann Lopez, Founder of Black Girl Gamers; Trevor McFedries, Co-founder of Brud; Kadine James and Lucy Wheeler, Founders of Immersive Kind; Gabrielle Jenks, Digital Director, Manchester International Festival and many more. 

The strategic briefing is organised into three chapters: 

Chapter One explores user experience of art (UXA) as a model for reassessing the key touchstones of cultural institutions’ digital strategy with the advent of advanced virtual environments—digitally produced 3D spaces. 

Chapter Two surveys the emergence of ‘metaversenative’ art in art-adjacent fields such as gaming, blockchain, film and architecture as a result of their openness to developing new skills, proficiencies and business models around emerging technologies. 

As a planetary-scale infrastructural project, the metaverse represents a challenge to cultural institutions’ role as public interest organisations. Cultural institutions can only continue to fulfil this role if they are advocating for and contributing to the construction of an open and accountable 21stcentury cultural infrastructure. 

Chapter Three proposes a set of vectors for a sectorwide effort to take active steps in that direction, which include: 

- Greater interoperability between cultural institutions as well as with art adjacent fields; 

- Investment in advanced production capabilities; 

- Recognising and supporting expanded economic and distribution rationales; 

- Harnessing new proficiencies that propel deeper engagement with users-as-stakeholders; 

- • Devising new systems of measurement. 

## SKiLLS For FuTure ArT ecoSySTeMS 

## **24 July – 18 September 2021** 

## **Online, workshop** 

Serpentine and arebyte partnered for a series of technical workshops focused on artmaking in the metaverse. Each workshop, led by an artist, offered participants the opportunity to learn and create live with a group of 20 other participants. Upon completion, attendees can expect to have tangible skills to apply in their own creative practice. The workshop videos were post-produced and published on YouTube. 

**Saturday 24 July: Interaction 101 with Danielle Brathwaite-Shirley Saturday 28 August: Dynamic Environments in Unity with Christopher MacInnes Saturday 18 September: Metahuman production with Keiken** 

## **Engagement:** 

||**Live online workshops capacity (peopleper workshop)**<br>**YouTube views**|**10**<br>**1.4k**|
|---|---|---|
||**Interaction 101 with Danielle Brathwaite-Shirley**<br>**Dynamic Environments in Unity with Christopher MacInnes**<br>**Metahumanproduction with Keiken:**|**314**<br>**224**<br>**614**|



Serpentine’s Arts Technologies team is currently producing the third annual briefing, on art, public value and web 3, for release in Autumn 2022. 

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_Danielle Brathwaite-Shirley, WE CAN'T DO THIS ALONE, 2022_ 


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## ↓ FuTure ArT ecoSySTeMS 2 Live 

**A series of online talks emerged from the launch of Future Art Ecosystems 2: Art x Metaverse, where we discussed the metaverse and the opportunities and challenges facing artists, producers and cultural institutions within an increasingly virtual landscape** 

## **Engagement:** 

**Future Art Ecosystems: Art x Metaverse: Launch Presentation 1.1k** 

**Future Art Ecosystems 2 Live: Sam Rolfes x Alex Boyes 953 Future Art Ecosystems 2 Live: Amelia Winger-Bearskin x Tamar Clarke-Brown 258 Future Art Ecosystems 2 Live: David Blandy and Larry Achiampong x Kay Watson 269 Future Art Ecosystems 2 Live: Robin McNicholas x Alex Boyes 278** 

## FuTure ArT ecoSySTeMS: ArT x MeTAverSe: LAunch preSenTATion 

## **13 July 2021** 

## **Online** 

The launch presentation of Future Art Ecosystems: Art x Metaverse (FAE2) was presented by Victoria Ivanova, R&D Strategic Lead and Kay Watson, Interim Head of Arts Technologies, Serpentine. 

## FuTure ArT ecoSySTeMS 2 Live: SAM roLFeS x ALex BoyeS 

## **29 July 2021** 

## **Live, Online, Event** 

Interested in real-time virtual live performance? How about spending time within digital worlds flying around with avatars? Or maybe you’ve just always wanted to stage your own virtual live event in hopes of raising funds towards your own experimental musical physics game? Opportunities like these are accelerating via metaverse technologies including virtual reality, game engines, and motion-capture alike, and are part of shifts within creative experimentation and audience engagement that Future Art Ecosystems: Art x Metaverse (FAE2) explores. 

## FuTure ArT ecoSySTeMS 2 Live: FuTure ArT ecoSySTeMS 2 Live: AMeLiA Winger-BeArSKin x TAMAr roBin McnichoLAS x ALex BoyeS **4 October 2021** cLArKe-BroWn 

## **Live, Online, Event** 

## **13 September 2021** 

How do public arts organisations stay relevant within an increasingly virtualised landscape… from adopting production workflows, reporting on new measures for success, to satisfying latest audience and/or player expectations? What emphasis should organisations be placing upon research and development when considering metaverse technologies? Future Art Ecosystems 2: Art x Metaverse proposed a variety of solutions to these including adopting approaches from adjacent creative fields like performance, design, and science. 

## **Live, Online, Event** 

Serpentine Arts Technologies team and contributors to Future Art Ecosystems 2 discussed the metaverse and the opportunities and challenges facing artists, producers and cultural institutions within an increasingly virtual landscape. 

## FuTure ArT ecoSySTeMS 2 Live: DAviD BLAnDy AnD LArry AchiAMpong x ALex BoyeS 

## perForMing The MeTAverSe: perForMAnce x virTuAL WorLDS 

## **27 September 2021** 

## **17 March 2022** 

## **Live, Online, Event** 

## **Online** 

What is the role of the artist within the metaverse? How can they tell stories within increasingly virtual platforms whilst still critiquing relatively new mediums like game engines – what is good virtual art? With new technology comes new production techniques, but also new audience and user expectations that present risks but also opportunities that need to be balanced and responded to within these new user experiences. 

A live conversation with Annette Mees (King’s College London), Jo Scotcher (Current Rising), Theo Triantafyllidis, (Anti-Gone), and Kay Watson (Serpentine). This panel of artists, producers and directors explored the risks and potential of virtual performance, considering embodiment, liveness, shared experiences, and distribution channels. The event streamed live on Twitch (@serpentineuk) with conversation in real-time to pitch questions to our speakers. 

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## ↓ creATive Ai LAB 

Creative AI Lab is a collaboration between Serpentine R&D Platform and the Department of Digital Humanities, King’s College London. New approaches to aspects of Artificial Intelligence/Machine Learning (AI/ML) including interface design, production and engagement have emerged from artistic practices. The aim of the lab is to surface this ‘back-end’ knowledge and link it to wider artistic and curatorial practices in order to overcome the existing ‘black-box’ narratives. Through the lens of artmaking, the Lab produces knowledge for cultural institutions, artists, engineers and researchers on how to engage AI/ML as a media. Additionally, the lab aims to develop institutional capacities to engage with this media for the benefit of the wider cultural sector. 

## Our research currently investigates: 

- AI tools supporting by artistic practices 

- • The changing nature of artistic and curatorial practices as a result of working with AI/ML 

- • Creative AI as a critical practice • Aesthetics of AI/ML 

Cultural institutions offer a much-needed societal space to critically engage with advanced/deep machine learning technologies. To support this, the Creative AI Lab focuses on a range of research outputs that include: 

- A growing Creative AI Tools & Resources Database 

- • Research workshops and papers 

- A series of online tutorials that surface AI/ML infrastructures by exploring their interfaces. 

## A cephALopoD ←→ MAchine encounTer 

## **Maggie Roberts of 0rphan Drift and Serpentine Arts Technologies in conversation** 

## **11 October 2021** 

## **Online** 

How can an octopus, in an encounter with artificial intelligence, transform our understanding of technological development? Serpentine Arts Technologies in conversation with Maggie Roberts of 0rphan Drift (0D) guided us through a meditative exercise, we experienced the ocean floor as an octopus would. The live event continued with an inconversation between Roberts, Alasdair Milne (Creative AI Lab researcher) and Eva Jäger (Associate Curator of Arts Technologies at Serpentine) as they discussed 0rphan Drift’s latest project, ISCRI, an experiment in interspecies communication between an octopus and an AI, mediated by humans. ISCRI is a collaborative research initiative with technology/machine learning consultancy Etic Lab. 

## TAcTicAL enTAngLeMenTS: everyThing i SAy iS True: creATive Ai LAB in converSATion poeTic BiBLiogrAphy WiTh MArTin zeiLinger **Suzanne Kite** 

## **Suzanne Kite** 

## **15 November 2021** 

## **Online Commission** 

## **Online** 

Performance artist Kite presented her script for _Everything I Say Is True_ , now annotated as part of the Creative AI Lab’s database. The Oglála Lak _ȟ_ óta artist, composer and scholar Suzanne Kite (aka Kite) was quick to point out that the groundwork for her contribution to Artificial Intelligence (AI) is not obviously about technology: _“I can’t point to specific papers about AI that I’m building my work on top of because I’m not building it on a history of technology. I’m building it on this other history of knowledge.”_ 

How do artistic experiments with artificial intelligence impact human-centred notions of creative agency, authorship and ownership? In his new book, Martin Zeilinger offers a wide-ranging discussion of contemporary digital art practices, and the philosophical and technical considerations of AI. Zeilinger explores post humanist thought as it relates to emerging issues of intellectual property and the commons. The book invites readers to consider new types of creative practice, rethink the role of the author or singular artist, as well as their originality and unique creative expression. 

Kite and others in her network of thinkers are writing a theoretical framework for AI that isn’t just a deviation from existing technological protocols, but a new one altogether, built on Oglála Lak _ȟ_ óta and other indigenous knowledge systems. 

## **Engagement:** 

Her commission for the Creative AI Lab, _Everything I Say Is True: Poetic Bibliography_ takes the form of an annotated script from her 2017 performance, Everything I Say Is True, originally commissioned by the Walter Phillips Gallery in Banff. Kite borrows a fourpart framework for building collective truth from her grandfather’s sweat lodge ceremonies: first, teaching, then providing evidence, followed by the display of that truth, and finally an accusation to non-believers which introduces critical reflection. Using family ephemera and historical documents she considers truth in relation to Oglála Lak _ȟ_ óta knowledge systems. These systems in turn signal an ethical method for the development of new advanced technologies. 

|**Engagement:**||
|---|---|
|**Aesthetics of new AI: Panel Discussion**|**680**|
|**A Cephalopod**←→**Machine Encounter**|**276**|
|**Aesthetics of New AI Interfaces**|<br>**913**|
|**Tactical Entanglements: Creative AI Lab**<br>**in conversation with Martin Zeilinger**|**350**|



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## ↓ LegAL LAB 

Serpentine’s Legal Lab is a pioneering effort within the art field dedicated to the development of legal infrastructure for cross-industry collaborations, developed in collaboration with Alana Kushnir of _Guest Work Agency_ . Our lab is focused on the sharing and development of new knowledge, and it relates to complexities emerging from new artistic fields of practice, particularly in relation to the intersection of art and advanced technologies. 

Legal structures and tools, such as contracts, are crucial to structuring innovative enterprises and effective operational models. However, in the sphere of art, there is a tendency to shy away from legally onerous forms of arrangement. This has resulted in legal infrastructures being under-acknowledged for their multifaceted potential in supporting cutting-edge creative practice. These concerns are present in the internal organisation of the art field and the expanding realm of crossdisciplinary relationships between art actors and external fields. 

## LegAL LAB reporT 1: ArT + Tech/ Science coLLABorATionS 

## **26 July 2021** 

Serpentine’s Legal Lab, which investigates legal issues and prototypes accessible legal solutions for the art field, released Legal Lab Report 1: Art + Tech/Science Collaborations. The report surveys the legal issues faced by collaborators in art and technology/science projects. 

The findings of the report are based on responses received from over 250 artists, technologists, cultural institutions, funders, academics and lawyers, as well as 30 in-depth interviews and social media polls, with the view of identifying and analysing legal issues that arise in art + tech/science collaborations. Some of the most critical pain points include the different working expectations of collaborators; limited access to specialist legal advice for contributors from the art field; ownership of and rights to use intellectual property arising from collaborations. The report includes action points to improve the working methods of such crosssectoral projects. 

## LegAL LAB reporT 1: ArT + Tech/ Science coLLABorATionS: LAunch preSenTATion 

## **7 September 2021** 

## **Online** 

The launch presentation of the report with Alana Kushnir, Legal Lab’s Principal Investigator, Marie PotelSaville, founder of legal design agency Amurabi, and Victoria Ivanova, Serpentine R&D Strategic Lead. 

## **Engagement:** 

**Legal Lab Report 1: Art + Tech/Science Collaborations 269** 

## ↓ nFTS AnD The LAW 

The increased presence of digital assets within the art industry in the form of blockchain-based non-fungible tokens (NFTs) is posing new legal challenges as well as resurfacing existing ones. 

In June 2021, in collaboration with Rhizome, Serpentine Legal Lab convened an event that brought together leading art lawyers to discuss the legal implications of NFTs for collectors and artistic collaborators alongside the release of a research paper by Alana Kushnir on the topic. 

## ↓ SynTheTic ecoLogieS LAB 

## **Ongoing** 

Led by designer and researcher Yasaman Sheri, Synthetic Ecologies Lab aims to support artists in the context of emerging biological technologies and ecology by strengthening the foundations for art’s critical inquiry and intervention into these spaces. This is done by integrating insights derived from existing art-science collaborations as well as exploring the tools and models for collaboration in new artistic engagements with the sciences and lifeforms. 

From ecological awareness around climate change to ethics of geo-engineering, to providing glimpses into techno-biological futures, to making with a multitude of species and living systems, there is a long history of artists and designers attempting to give shape to the invisible biological medium that is so hard to perceive and contextualise conceptually in everyday living. Synthetic Ecologies Lab is supported by a growing advisory panel: 

- Dr. Elizabeth Henaff — Computational Biologist/ Artist, NYU Tandon School of Engineering, Laboratory for Living Interfaces 

   - Christina Agapakis — Creative Director at Ginkgo Bioworks 

- 

- Tega Brain — Artist, NYU Tandon School of Engineering 

- Holly Jean Buck—Assistant Professor of Environment and Sustainability, University at Buffalo 

- Erin Kim—Director of Communications at Geltor 

- David Zilber—Chef, Scientist, Fermentation Expert, Author of The NOMA guide to Fermentation 

- • Aslak Aamot Kjærulff—Co-founder of Primer • Charles Broskoski—Co-founder of Are.na 

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In 2021, the Lab began work on the _Compendium_ , a collaborative web tool that supports iterative narrative and definitions within the field of Synthetic Ecologies by bringing artistic and scientific communities into experimental exchanges and providing a digital portal to more expansive cross-disciplinary networking and connecting to occur. The Compendium launched in Summer 2022 alongside a public programme seeking to: 

- Open access for artists and scientists embedded within knowledge repositories 

• Facilitate translation and communication across discipline, art, science, technology 

- Build cross-disciplinary knowledge iteratively and 

without totality 

• Sustainably build communities around synthetic ecologies for future collaboration in a one-to-many format to move beyond one-to-one opportunities • Democratise access to cross-disciplinary knowledge for broader audiences, particularly those who are not embedded within existing networks 

- Instigate collaborative exchange to seed partnerships without expectation 

## ↓ eMBoDieD ecoLogieS in coLLABorATion WiTh neW inc 

Presented in partnership with Serpentine’s Synthetic Ecologies Lab, this evening program invited the members of NEW INC’s Creative Science Track to present the ways their practice interacts with notions of ecology, nature, and embodiment. While Western culture distinguishes the natural world as external to humans, the speakers included in this program tell stories that expand our perception of ecology: That the natural world consists of an entangled series of interactions and relationships that humans are a part of, not separate from. The practice of embodying, in this case, reveals the hidden ways we participate in our ecologies while also making visible the ways our environments change us, our bodies, and the perception of our surroundings. 

The evening was anchored by a keynote by designer and researcher Yasaman Sheri, followed by presentations by our Creative Science track members Ani Liu, Gal Nissim & Leslie Ruckman, Jiabao Li, Jonah King & Sue Huang, Nocturnal Medicine, and Trash Club. Having worked closely with the artists on this track, Mentor-in-Residence Fiona Raby acted as a respondent for the evening. 

## **Engagement:** 

**Embodied Ecologies physical event** 

## ↓ BLocKchAin LAB 

## **Ongoing** 

Supporting network development between visionary artists, cultural workers, blockchain entrepreneurs, as well as local initiatives, communities, institutions and businesses to foster new translocal and transnational systems and an ethos of global cooperation within the arts. 

Led by Ruth Catlow, co-founder of _Furtherfield_ and _DECAL_ , Serpentine’s Blockchain Lab builds on the experiences of _DAOWO_ - the award-winning blockchain programme for reinventing the arts. The first series of events ran in 2017-18 in collaboration with the _Goethe Institut_ London, with international artists, engineers, crypto-economists, musicians, technologists, and theorists joining forces to understand how blockchain technologies - cryptocurrencies, distributed ledgers and smart contracts - could enable a critical, sustainable and empowered culture. This was later followed in 2019 by the _Blockchain & Art Knowledge Sharing Summit UK_ in collaboration with _Digital Catapult_ , which examined the cultural sector opportunities available for working with blockchain technologies. 

## ↓ ArTS TechnoLogieS coMMiSSioning 

## **Digital Commission** 

The artist-led Digital Commissions programme develops contemporary artworks with artists that focus our attention on emerging technologies as a medium, a tool or a topic that can operate beyond the gallery walls through which the Arts Technologies team supports advanced production, development, distribution and engagement. Each commission aims to expand how we understand the effect of digital technologies on artistic and cultural practice today. 

## TruST, hiveMinD 

## **Launched 29 March 2022** 

Drawing on the long and distributed histories of labyrinths as tools for storytelling, this year’s Digital Commission by Trust, Hivemind, transformed the labyrinth framework, first developed for R&D Labyrinths, Series 1, into a game. Serpentine commissioned Trust members Calum Bowden, Will Freudenheim and Joanna Pope to transform the labyrinth into an open-source game they call Hivemind. The game allows for narrativised walkthroughs by artists of their back-end working environments. Bowden, Freudenheim and Pope have been experimenting with knowledge games as tools for exploring artistic research. They approached Hivemind’s creation considering the question: _how can you build a game that allows artists to archive and share not only a finished artwork, but the tools, data and experiments they have built to bring their work into existence?_ Taking a design-led approach, beginning with research into game logic, Hivemind’s development included a series of design sprints that allowed collaborators to map the needs of the artist-players, turn limitations into guidelines and obstacles into opportunities, and engage in critical thinking around the playful potentiality of archives for artists and creative technologists. 

Following its launch, Arts Technologies invited several artists to trial the game live on our Twitch stream during the Summer as part of R&D Labyrinths, Series 2. 

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_Danielle Brathwaite-Shirley, She Keeps Me Damn Alive 2021, video game still_ 

## ↓ r&D LAByrinThS 

## r&D LAByrinThS SerieS 1 eArLy-STAge ArTiSTic r&D: FoLLoW The ArTiST DAnieLLe BrAThWAiTe-ShirLey 

## **5 May 2021** 

Six-month artist-led R&D period, offers time, space, budget and resources to continue development of artistic practice, experimenting, prototyping and testing new directions in work & thinking. Included: 

## **Online** 

The Serpentine R&D platform and long-time collaborators Trust launched a new series of short videos: R&D Labyrinths. In each video, artists working with advanced technologies guided us through the back-end of the software interfaces they use to make their work. They revealed key technological and operational infrastructures. In this series, we discovered machine learning algorithms that allow for collaborative music composition, poetry machines and new spaces for consensus building. 

- Prototyping new technologies, ways of working and creative infrastructures 

- Designing new protocols and rules of engagement against passive spectatorship 

- Prototype games studio setup as new operational model to support sustainable and supported growth for artist 

- Prototyping new legal frameworks (IP/governance) toward this 

**Episode 1: Rindon Johnson on D’Artagnan, poetry bot** Rindon Johnson takes us step-by-step through his writing process using a poetry machine called _D’Artagnan_ . 

- Exploring eye-tracking and other surveillance technologies 

**Episode 2: Black Swan on Cygnet, consensus-building tool** Black Swan takes us step-by-step through _Cygnet_ , a new tool for peer review and resource allocation that moves with the lunar cycle to disrupt archaic infrastructures in the Artworld. 

- Embedding technological spaces with ethics and community-support structures 

- Designing a gaming installation environment controlled by the unconscious movements of the audience-as-controller 

## **Episode 3: Ricardo Saavedra on Gradient, music composition interface** 

- Developing a project and/or exhibition proposal 

The project resulted in a public event in 2022 to test the prototypes developed during this period of R&D. 

Ricardo Saavedra takes us step-by-step through _Gradient_ , an interface that allows composers to express their ideas by interacting with an algorithm that steers them toward novel outcomes. 

## **Engagement:** 

**Episode 1: Rindon Johnson on D’Artagnan, poetry bot 551 Episode 2: Black Swan on Cygnet, consensus-building tool 915 Episode 3: Ricardo Saavedra on Gradient, music composition interface 440** 


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_Serpentine Studios with James Barnor in James Barnor: Accra/London - A Retrospective, 2021. Photo: Youssra Manlaykhaf_ 


## → WeLcoMing A BroAD AnD DiverSe » puBLic 

We welcome a broad range of visitors by providing diverse activities, programmes and support. Our Visitor Experience team is strongly committed to delivering an exceptional service to the public, playing a vital role in bringing to life Serpentine’s values of delivering an enriching and memorable experience, while guiding visitors through our exhibitions and encouraging dialogue. The team provides a crucial link between gallery presentation, artists' vision and visitor interpretation, and it has the mission of establishing Serpentine as an inclusive space for ideas, conversation and individual expression, making art accessible to all. 

**Serpentine is committed to creating an inclusive and equitable space for all. We bring artists and audiences together in real time, in our galleries, gardens and across our global digital networks. Our aim is to bring people closer to art and ideas, and we strive constantly to expand our reach and engage new audiences with art and creativity.** 

We ensure our communications are accessible through our on-site interpretative materials, our marketing collateral and our digital platforms, including offering alternative formats, and texts aimed at different audiences. 

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## ↓ AuDience DeveLopMenT 

In 2021/2 we began building a three-year audience development framework with Mel Larsen Associates, focused on three pillars: 

## **Restore** 

Restore audience and strengthen connections 

## **New** 

Attract new and diverse visitor profiles 

## **Engage** 

Retain and develop type and depth of audience engagement 

We refined Serpentine’s brand, mission and vision statements and began our journey towards 360[o] visitor insight and planning. 

## hyper-LocAL MArKeTing 

With the decline of international visitors in 2021/2, we initiated a campaign to develop Serpentine’s brand awareness, and local visibility of its summer 2021 programme. 

## **Objectives:** 

_Hyper local marketing strategy_ – leading with an audience-first approach in creating print design and creative concepts for signage and messaging around and  close to Hyde Park and South Kensington. 

_Wider local marketing strategy_ – potential creation of flyers for local communities, educational organisations, local tourism plan, promoting our summer programme and events in London and target boroughs such as Barking & Dagenham. 

Families – Promoting and communicating Serpentine as a cultural destination in the park for families. 

## youTh coLLecTive – SerpenTine STuDioS 

In the summer of 2021, Serpentine worked with POCC Creative Agency and specialist youth engagement agency BREAK COMMS to create Serpentine Studios, a group of young artists, writers, photographers and technologists. The cohort came together to amplify young creative voices and reimagine Serpentine as a hub for passionate audiences to engage with art. 

Under the mentorship of Serpentine, POCC and Break Comms, Serpentine Studios met with exhibiting artists and the wider Serpentine team to create original content responding to Serpentine’s programmes. The  collective launched Serpentine’s first TikTok account and organised a special event for young people in the 2021 Serpentine Pavilion Designed by Sumayya Vally,  Counterspace. 

## SerpenTine STuDioS x coAL DropS yArD 

Kiosk N1C hosted Serpentine Studios’ first public, two-part exhibition at Lower Stable Street in Coal Drops Yard, Kings Cross, London. Serpentine Studios x Coal Drops Yard Part 1 was a collection of original artworks inspired by James Barnor’s timeless archive, running from 29 November to 17 January 2022. 

Serpentine Studios x Coal Drops Yard Part 2 offered a new collection of original artistic responses to the exhibition Hervé Télémaque: A Hopscotch of the Mind from 17 January until the end of February 2022. 

2021 Serpentine Studios participants were Jerome Andre, Asa Andrew, Kanesha Edwards, Eddie Zhang, Sivney Reynoso, Sophia Wee Blázquez, Bethany Peters, Sanchit Bembi, Bilel Azzez, Angel Ayomanor, Sudi Jama, Jai Toor, Mide Johnson, Hayleth Dawkins, Lucie Shackley, Alessandra Centorbi, Jennifer Metcalf, Victoria Moyosola, and Jadore Nicholas 

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## ↓ ↓ preSS & MeDiA proFiLe reAching BeyonD The gALLery WALLS 

From April 2021 to March 2022, Serpentine’s programming, encompassing exhibitions, architecture, digital and events, received extensive press attention across print, online and broadcast media. After the main duration of the pandemic, Serpentine reopened to the public on 19 May 2021 which allowed press to once more cover in-person exhibitions and events. 

Our website engagement increased by 63%, with 911k total visitors during the year. The largest spike in visitor traffic was 42k page views on 18 January on the launch of KAWS. KAWS drove over 91k visitors to the website between January-March 2022 and resulted in over 2k downloads of the Acute Art app. James Barnor drove 113k visitors to the website throughout the exhibition. The Serpentine Pavilion, Designed by Sumayya Vally, Counterspace drove 72k visitors and Jennifer Packer drove 64k visitors to the site. Our email mailing list grew by 38% to 42k, following the introduction of our ticketing system. 

Focusing on engaging with a range of media to drive footfall and reach new audiences, the KAWS: NEW FICTION exhibition in January 2022 generated extensive coverage in media internationally, including across gaming and streaming platforms such as Discord, Twitch and YouTube. Traditional media coverage included broadcast features on ITV and Channel 4, alongside features and reviews with The Observer, The Times, France24, DAZED, Creative Review and GQ, demonstrating the wide range of lists and new contacts we were able to target for the campaign. Reflective of the wide-ranging coverage, The Observer sent their Gaming critic as opposed to their Arts critic to review the show. 

## **Engagement:** 

**1 Apr 2021 to 31 Mar 2022 16.4M*** 

_*not including visitors to KAWS exhibition via Fortnite (400M user base)._ 

## **Success Factors 2021** 

Solo-artist led exhibitions also drove significant coverage with James Barnor: Accra/London – A Retrospective being highlighted across top-line media including BBC, The New York Times, The Guardian, The Telegraph and CNN International. Our Jennifer Packer exhibition was also reviewed in BBC with a 5-star review and significant features with The Observer, The Spectator and The Times. Hervé Télémaque: A Hopscotch of the Mind similarly received strong coverage such as interviews with DAZED and The Art Newspaper alongside features with Studio International, Wallpaper* and The Strand Magazine. 

A partnership with Fortnite and Acute Art for KAWS saw a virtual exhibition created and promoted to Fortnite’s global user base of 400M users (details of visitor numbers to the virtual exhibition were not made available by Fortnite / EA Games). The partnership also resulted in 14.7k downloads of the Acute Art app during the KAWS exhibition. 

The use of ticketing and implementation of Ticketure in December 2021 allowed us to collect data on 63k ticket bookers, with over 8.4k of ticket bookers opting-in to email communications. 

The Serpentine Pavilion 2021, designed by Sumayya Vally, Counterspace, was championed across international and national media including end-of-year round-ups with The Guardian and The Observer highlighting the structure as one of the best pieces of architecture of the year. Broadcast features ran with Sky for their Art and Architecture series and the Pavilion generated over 135 unique press hits including 4 and 5-star reviews with leading papers. 

We raised £6.6k of donations through the implementation of an optional donation to our ticket booking purchase pathway (implemented Dec 2021). 

Digital accessibility of the Serpentine website was improved with the implementation of an accessibility plugin which has been accessed 4.8k times since launch 

## ↓ BLooMBerg connecTS AnD SociAL MeDiA 

## **Platforms** 

## **Annual summary** 

Despite ongoing closures dictated by the pandemic, the James Barnor and Jennifer Packer exhibitions both saw strong engagement with Bloomberg Connects. 

|**Platforms**||
|---|---|
|**1 April 2021 to 31 March 2022**|**{TY}**|
|**Website**||
|**Visitors**|**911k(+63%)**|
|**Page Views**|**2.7M(+79%)**|
|**Email Traffic**|**5.5k**|



## **Video views** 

|**Video views**||
|---|---|
|**Instagram**|**354k**|
|**Twitter**|**27k**|
|**Facebook**|**50k**|
|**Total**|**431k**|



## **Social** 

|**Page Views**<br>**2.7M(+79%)**<br>**Email Traffic**<br>**5.5k**<br>**Social**|**Instagram**<br>**354k**<br>**Twitter**<br>**27k**<br>**Facebook**<br>**50k**<br>**Total**<br>**431k**|
|---|---|
|**Serpentine social channels**<br>**5K(+1%)**<br>**Social to website**<br>**26.8k**<br>**Total impressions**<br>**13.1M**<br>**CRM/ticketing**<br>**Tickets booked via Eventbrite and Ticketure systems**<br>**153k**<br>**Increased opt in rate from 10% to 20%**<br>**8.4k**<br>**Opted-in to receive SMS communications**<br>**1.5k**<br>**Optional donations received with ticket booking**<br>**£6.6k**|**Serpentine social media followers**|
||**Instagram**<br>**365k**|
||**Twitter**<br>**158k**|
||**Facebook**<br>**83k**|
||**Total**<br>**607k**|
|||



|**Instagram**|**365k**|
|---|---|
|**Twitter**|**158k**|
|**Facebook**<br>**Total**|**83k**<br>**607k**|



## **Content** 

|**Content**||
|---|---|
|**YouTube video views**|**343k**|
|**Serpentine Podcast download**|**46.1k**|



## **Email** 

|**Email**||
|---|---|
|**Email listsgrew by**|**11.6k to 42.1k(+38%)**|
|**Open rates**|**+32%**|
|**Click through rates**|**+2.4%**|



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_Sophia Al-Maria, taraxos, preview event. Photo: David Tett._ 


## → DeveLoping DiverSe, → high-perForMing & engAgeD TeAMS � 

**At the beginning of 2021, the galleries remained closed until May when we reopened and continued to operate under the restrictions of the COVID-19 pandemic. As we welcomed visitors back, we also reopened our offices allowing staff to return to more familiar routines. Looking forward, we are introducing hybrid working to balance the benefits of remote and home working with those of working collaboratively and productively at the gallery.** 

## **Promoting an Open, Collaborative, Supportive and Diverse Culture** 

Serpentine has pledged to promote anti-racism in all that we do: the content of our programmes, the culture of our workplace, the diversity of our staff and the experiences of our audiences. In 2020, we began our work with external diversity and inclusion consultants who are leading a programme of change that involves staff and leadership at all levels of the organisation. This change will be the result of sustained effort and everyone who engages with Serpentine learns and grows through taking part in this journey. 

## The programme involves: 

- One-on-one interviews, staff surveys and listening circles with all staff 

- Coaching, consulting and communications support with Directors and Senior Management Team 

- • A series of training modules for all staff at all levels 

_The Progress Project_ is a diverse and inclusive collective of staff at Serpentine who have come together to ensure that voices of our diverse colleagues continue to be included in all levels of decision making at Serpentine. 

## Their work includes: 

- Ensuring the voices of our diverse colleagues are heard and integrated into the transformation process 

- • Reviewing and monitoring Serpentine’s progress towards becoming fully anti-racist and identify any gaps in the programme hindering progress. 

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_The Listening Circle_ provides a confidential, safe space for our people of all backgrounds to talk about their experiences, concerns, or to simply have open conversations about the things that matter to them. The sessions are run by members of the Progress Project who have been specially trained to run the sessions by our diversity and inclusion consultants. 

Five Inclusion and Relevance Groups are responsible for meeting monthly to address our anti-racism culture across different areas of the organisation. Each team is chaired by a member of the Senior Management Team. 

## The teams are: 

- Attracting and Recruiting a Diverse Talent Pool 

- • Audience Development Planning 

- Diversifying our Artistic Programme 

- • HR Policies and Procedures 

- Vision and Direction 

Serpentine is committed to diversity, equity and inclusion, and is continuing its programme of training and support for staff at all levels. 

## **Attracting and Retaining Qualified and Talented Employees** 

We recognise having a diverse, inclusive team with a variety of different perspectives and experiences will benefit Serpentine’s strategic aims. We have continued to develop and implement an accessible, inclusive recruitment and retention strategy to attract a diverse range of the highest quality employees and we continue to introduce new initiatives to ensure an inclusive, supportive working environment to support their retention within the organisation. 

## **Recognising and Rewarding Achievement and Performance Fairly** 

Serpentine continues to be an accredited Living Wage Employer. This commitment applies to directly employed staff as well as contractors providing services to Serpentine. 

## **Equal Opportunity Policy** 

Serpentine is committed to encouraging and promoting equality and diversity throughout our workforce. Our aim is for our staff to be truly representative of all sections of society and to work in a positive and effective environment where everyone is respected, and for each employee to perform to the best of their ability. 

Our policy is to provide equality and fairness for all in our employment and in our provision of services and not to discriminate on the grounds on age, disability, gender reassignment, marriage and civil partnership, pregnancy and maternity, race, religion or belief, gender (sex) and/or sexual orientation. 

We continue to report Equal Opportunity data annually in line with Arts Council England to monitor the diversity of the workforce and Board of Trustees. We believe all these activities promote a culture that engages happy, productive and empowered employees who support Serpentine’s vision. 

The current Serpentine staff is a diverse ensemble of national and international employees coming from both art and non-art backgrounds, made up of 68% women, 29% Black, Asian and Ethnically Diverse, 10% LGBTQ and 8% with a disability (March 2022). 

We will also continue to work with a diverse range of practitioners across our programmes, in terms of age, sex, sexual orientation, race and religion. We are happy to report that in 2021/22, 82% practitioners were other than white British, 53% were classed as female and 55% were emerging or late career artists. These figures exceed our targets for the financial year and our Programming Guidelines. 

By broadening the diversity of art and artists, we are also widening our reach. Improving accessibility and reception of individuals from varying backgrounds is being achieved through the training of Visitor Services personnel and more targeted communications. 

The Board of Trustees continued with plans to diversify in 2021/22 with a review commissioned for year 2022/23. 

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_Dominique Gonzalez-Foerster, Martial Galfione and Mike Gaughan, Metapanorama, 2022. Installation view, Alienarium 5 (Serpentine South, 14 April - 4 September 2022). Photo: Hugo Glendinning. © The artist and Serpentine, 2022._ 


## ↘ FuTure � pLAnS 

Our overarching strategic objective for our 2021/22 business strategy is to be ‘artist-led, audience-centric', for which we have developed six areas of emphasis: 

**Serpentine believes the arts inspire people, make communities more creative and strengthen economies. This unprecedented time in history has created uncharted realities and shifted our perspectives profoundly. The many challenges we’ve faced have given us renewed clarity of purpose for the future: Serpentine’s mission is to amplify the work of artists engaging the urgent issues of today - ecology, technology and community - throughout the art world and beyond it.** 

## **1. Art for All** 

We aim to diversify our audiences and increase audience retention, through an emphasis on different visitor experiences informed by data. We will do this by strengthening our brand, vision and mission, implementing a three-year audience framework and diversifying media reach and creative partnerships. 

## **2. 360o Artistic Production and Audience Engagement** 

We will connect artists to topical conversations and new audiences by integrating our physical and online programmes, and tap into our core pillars of ecology, technology and community. We will do this by creating a programme that champions and reflects diversity across all areas; cultivates a diverse audience and provides accessible content in person and virtually; addresses urgent issues of our time through the lens of ecology and community; and find new methods to deliver content and support school age children. 

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_James Barnor: Accra/London - A Retrospective (Installation view, 19 May – 24 October 2021, Serpentine) Photograph: Harry Richards @reportography_ 

## **3. Sector Leadership** 

Serpentine will act as a convener among art, business, educational and governmental institutions - and in turn situate artists in these new, polyvalent contexts with increased agency. We will do this by championing sector convening initiatives on art and technology and build dedicated, diverse communities around arts technologies; extending our resilient models for innovative arts and technology work by creating a distributed model for network building, audience engagement and development opportunities, including experimentation with new commercial models; and continuing organisational transformation in light of new challenges brought on by COVID-19 through the consolidation of new team structure and embed arts technologies knowledge and capabilities at all levels of the organisation, including the board. 

## **4. Inclusive Culture** 

We continue our commitment to anti-racism and inclusivity, which manifests in our public programmes as well as the internal culture and its further development. We foster a culture focused on diversity, inclusivity and positive staff engagement; creating a diversity, equality and inclusion plan for staff; and attracting and retaining the best talent and developing a high-performance culture, led by managers, in which staff can be supported, developed and managed effectively. 

## **5. Engagement and Value Development** 

We will secure funding partners motivated by our core pillars as well as enhancing the appeal and value of donating to Serpentine for all supporters - both of which inform the goal of the 50+1 Anniversary Campaign. We will do this by creating new propositions for engagement and enhancing the value we deliver to our donors. 

## **6. Entrepreneurial Leadership** 

We will focus on maintaining organisational flexibility, prioritising resources to ensure agility and sustainability, and testing new business models as we enter a new and fast evolving landscape. 

Today we are uniquely positioned to take on the challenges and opportunities of this landscape. Against the backdrop of sectoral, political and pandemic disruption, Serpentine continues to be a global leader among cultural organisations, championing the artist’s voice in society’s biggest conversations. Last year hastened paradigm shifts in so many arenas of life. Our view is that it is no longer sustainable for art to exist above or to the side of society. We need to be at the forefront of it. 

Serpentine must take on the challenges and topics that matter to everyone, everywhere. Serpentine is a physical platform and a digital one, where ground-breaking artists and luminaries from other fields exhibit and experiment on a world stage. Our 50+1 Anniversary is a once-in-a-lifetime opportunity to galvanize support around elevating and amplifying some of our lesserknown, long term research projects that have become increasingly relevant in light of world events: projects that engage ecology, technology and community. As we continue to produce ground-breaking exhibitions by artists who deserve recognition, the effects of these topical projects ripple out beyond the walls of the gallery and beyond the limits of the art world. Similarly, our commitment to Slow Programming, will go beyond the conventional temporal limits of museum initiatives, unfolding organically and demonstrating sustained investments in environmental issues and audiences. 


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## ↓ ForThcoMing AcTiviTieS For 2022/23 WiLL incLuDe: 

## **Serpentine Pavilion 2022 Black Chapel designed by Theaster Gates Sponsored by Goldman Sachs** 

## **Architecture Commission** 

Designed by Chicago-based artist Theaster Gates with the architectural support of Adjaye Associates, the Serpentine Pavilion 2022: Black Chapel will draw inspiration from the architectural typologies of chapels and the great kilns of Stoke-on-Trent, England. 

Set within Serpentine’s grounds in Kensington Gardens, Black Chapel takes on sculptural qualities as it mirrors Gates’ ongoing experimentation with fashioning clay objects in his studio practice, as well as reflecting the artist’s interest in space-making through various urban revitalisation projects. The structure’s circularity and volume will echo the form of a sacred space or a chapel that protects and gathers. A single source of light coming from an oculus will create a sanctuary-like setting for reflection and conviviality as the Pavilion once again becomes a platform for live performances and public convenings throughout Serpentine’s dynamic summer programme. 

Gates’ Serpentine Pavilion 2022 will form part of _The Question of Clay_ , a multi-institution project by the artist taking place in 2021 and 2022 across Whitechapel Gallery, White Cube, Serpentine and the V&A. The project will seek to investigate the making, labour and production of clay, as well its collecting history, through exhibitions, performance and live interventions. The Question of Clay aims to generate new knowledge, meaning and connections about this material 

## **Radio Ballads Serpentine North Gallery** 

## **31 March – 29 May 2022** 

## **Exhibition** 

The culmination of three years of work by artists Sonia Boyce, Helen Cammock, Rory Pilgrim and Ilona Sagar, Radio Ballads will present four bodies of work created through collaboration with social workers, carers, organisers and residents which will explore stories of labour, and who cares for who and in what way. 

Over three years, artists Sonia Boyce, Helen Cammock, Rory Pilgrim and Ilona Sagar have been embedded in social care services and community settings in the London Borough of Barking and Dagenham, facilitated through the council’s New Town Culture programme. On view at Serpentine (31 March - 29 May 2022) and Barking Town Hall and Learning Centre (2-17 April 2022), Radio Ballads presents new film commissions alongside paintings, drawings and contextual materials that share each project’s collaborative research  process. 

Radio Ballads takes its name from a revolutionary series of eight radio plays broadcast on the BBC between 1957-64. Focusing on workers’ experiences and struggles through a combination of song, music, sound effects and the voices of communities, each ballad presented lived experiences and stories of work and resistance in the UK, at a time of rapid growth and change. Building on this rich history, the four new ballads will have been produced in the aftermath of twelve years of austerity and dismantling of the UK care sector. The projects were developed and sustained throughout multiple global crises, amid the compounding issues of systemic racism, ableism and the COVID-19 pandemic, shedding light on the innumerable ways in which those who do the work of care are often unsupported and devalued. 

Centring the voices and embodied experiences of social care workers, and those receiving and giving care in more informal networks, these artworks will share complex and intimate stories of living and working in 

the current moment. Radio Ballads will look at how artistic collaboration can create spaces to reflect on, and process, experiences of mental health, domestic abuse, terminal illness, grief and end of life care, as well as interdependence, and healing. Working with questions such as _‘how can artistic processes support systemic change?’_ , _‘what resources do we need in moments of change and challenge?’_ and _‘what keeps us connected?’_ , the four projects will build their own unique worlds. Radio Ballads will contemplate how to collectively imagine and navigate the future, demonstrating art’s capacity to create new possibilities for how to care, gather and govern together. 

## **Dominique Gonzalez-Foerster: Alienarium 5 Serpentine South Gallery** 

## **14 April – 4 September 2022** 

## **Exhibition** 

An immersive, supernatural and sensory environment by artist Dominique Gonzalez-Foerster. 

_What if aliens were in love with us? Would this change the relationship between humans and extra-terrestrials, or help to forge new connections among different species to the planet?_ Dominique Gonzalez-Foerster – friends & allies, will envision the Serpentine as _Alienarium 5_ : an immersive, supernatural and multisensory environment. Through this transformation, GonzalezFoerster will invite us to experience how an Alienarium could become a space of and for reimagination, stimulating our sensory system in order to alter and expand our everyday experiences. 

Presenting almost entirely new works commissioned specifically for the Serpentine, this ambitious project will include an outdoor sculpture made together with Paul B. Preciado, a soundscape developed with musician and long-time collaborator Perez, a 360-degree panorama, an olfactory collaboration made with Barnabé Fillion (Arpastudios) and a new VR experience produced by VIVE Arts. 

Alienarium 5 has been conceptualised as an immersive environment that poses questions around the invention of new technologies of consciousness. Will this excursion into an extra-terrestrial space be speculative and/or visual fiction? 

Gonzalez-Foerster will create a meeting point for friends and allies from the past, future, and time not yet named to gather and form a multispecies alliance. The interdisciplinary artist is known for innovating new artistic formats and the terminology to describe them, such as ‘mise en espace’, ‘anticipations’ and ‘apparitions.’ These artworks aim to invade the sensory domain of the viewer, facilitating intentional changes in memory and imagination. Alienarium 5 is an invitation for us to collectively experience a ‘supernatural’ environment in a new way: through altered visual, olfactory, tactile, and sonic encounters. 

## **Back to Earth Serpentine North Gallery** 

## **22 June – 18 September 2022** 

## **Exhibition** 

Back to Earth is Serpentine’s long-term, interdisciplinary, artistic programme responding to the urgent climate crisis. The programme will feature an exhibition staged at Serpentine North from 22 June to 18 September 2022, with further works situated in Serpentine’s restaurant The Magazine and further afield in Kensington Gardens. Back to Earth will also feature an extensive live programme with activations during the exhibition and for the next two years. Evoking responses to the climate emergency and spotlighting a multitude of durational perspectives from across the globe, Back to Earth will reflect how we can learn from diverse experiences to create change. 

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## **Kamala Ibrahim-Ishag Serpentine South Gallery** 

## **7 October 2022 – 29 January 2023** 

## **Exhibition** 

This major exhibition of pioneering Sudanese artist Kamala Ibrahim Ishag (b. 1939) is organised with Sharjah Art Foundation in collaboration with The Africa Institute. Over the past seven decades, Ishag has forged a unique and expansive practice which is not defined by a singular style or movement. Her work embraces and expresses different earthly and spiritual landscapes and histories of Sudanese visual culture across many eras. She roots her practice around subjects including women, spiritualism, Zar ceremonies, plants and stories from her mother and grandmothers. 

The exhibition will celebrate the breadth and importance of Ishag’s work and offer London audiences insights into her worlds, featuring works spanning from the 1960s to today, including her time in London studying at the Royal College of Art (RCA) from 1964-66, in addition to new paintings created in her Khartoum studio that have previously never been presented. 

Ishag was amongst the first women artists to graduate from the College of Fine and Applied Art in Khartoum in 1963. In the early to mid-1960s, she was considered part of the Khartoum School. Later, she became the leading figure of the conceptual Crystalist Group in Sudan during the 1970s and 1980s. Both a master modernist and innovative contemporary painter, Ishag continues to influence artists internationally and has been a prominent teacher and mentor to generations of practitioners, especially in her role as a professor of painting for over 30 years in Sudan. 

## **Barbara Chase -Riboud: Infinite Folds Serpentine North Gallery** 

## **11 October 2022 – 29 January 2023** 

## **Exhibition** 

The first UK solo exhibition of artist, novelist and poet Barbara Chase-Riboud (b. 1939, Philadelphia, USA, lives and works in Paris), Barbara Chase-Riboud: Infinite Folds will feature a focussed selection of large-scale sculptures alongside works on paper dating from the 1960s to the present day. The show will mark the UK debut presentation of some never-before-seen pieces, as well as some of the most celebrated works in the artist’s expansive oeuvre. 

With a career spanning over seven decades, ChaseRiboud’s innovation in sculptural technique and materiality is characterised by the interplay between folds of cast bronze or aluminium and coils of wool and silk which are knotted, braided, looped, and woven. By combining materials with different qualities such as hard and soft, light against heavy, and tactile versus rigid, Chase-Riboud’s works lend an aesthetic consideration to the sculptural base through the use of fibre ‘skirts,’ speaking to the artist’s interest in crafting forms that unify opposing forces. Parallel to her sculptural practice, Chase-Riboud is a distinguished poet and writer of historical fiction. She gained literary success for her first novel Sally Hemings, published in 1979, that drew on the relationship and life of an enslaved woman who was owned by US President Thomas Jefferson. Since then, Chase-Riboud has published over ten novels and collections of poetry. 

Committed to foregrounding transnational histories and cultures, Chase-Riboud draws inspiration from her experience living, working and travelling across Western and Eastern Europe, West Asia, North Africa and South-East Asia. Chase-Riboud’s encounters with classical architecture and sculpture, and historical artefacts from Western and non-Western traditions, have informed her recurring fascination with the public 

monument. In her major series, _The Monument Drawings_ , and across a selection of sculptures dating from the late 1960s, Chase-Riboud imagines edifices and memorials honouring various historical, cultural, artistic, and literary figures. These include, among others, Sarah Baartman, Malcolm X, Peter Paul Rubens’ mother, Josephine Baker, the Queen of Sheba and King Solomon, Cleopatra, Anna Akhmatova, and Lady Macbeth. These monumental works consider notions of memory, legacy and power, prompting a consideration of which people and events are commemorated, and for whom. On view at Serpentine North in Kensington Gardens where public statues frame the landscape, Barbara Chase Riboud: Infinite Folds highlights the often-unacknowledged figures that continue to shape our impressions of the past and present. 

## **Atta Kwami** 

## **Autumn 2022 and Spring 2023** 

## **Public Art** 

Serpentine and The Maria Lassnig Foundation awarded the 2021 Maria Lassnig Prize to the late Ghanaian artist Atta Kwami. 

Kwami was known for his paintings, murals, kiosk and gateway sculptures that were conceived as expanded three-dimensional paintings within different landscapes, incorporating his signature vibrant palette and abstract painting style. His works play with the colour and form improvisations that are distinctive of Ghanaian architecture and African strip-woven textiles 

Planned prior to the artist’s passing, this project has two parts; a mural commission at Serpentine North Garden in 2022 and a comprehensive monograph  published in 2023 exploring Kwami’s prolific career, his impact on art history and his lasting legacy. The publication will feature Kwami’s final interview with Hans Ulrich Obrist and will be designed by Mark El-khatib featuring new texts by Sir David Adjaye OBE, Clémentine Deliss, Ama Maisie Dogbe, 

Lisa Milroy and John Picton, amongst others, and will be edited by Serpentine curator, Melissa Blanchflower. 

The Maria Lassnig Prize is awarded biennially to a mid-career artist in association with an international institutional partner. Atta Kwami is the third artist to be granted the Maria Lassnig Prize, following Cathy Wilkes, in partnership with MoMA PS1 (2017), and Sheela Gowda, in partnership with Lenbachhaus, Munich (2019). 

## **Pavilion Breakfast Morning** 

## **June 2022** 

## **Civic Projects** 

Serpentine Civic will invite guests from Barking and Dagenham and other community partners for an annual picnic event in the 2022 Serpentine Pavilion by Theaster Gates. The event will offer curator-led tours of the Pavilion and exhibitions and food. 

Guests to include recent Radio Ballads collaborators Green Shoes Arts, Barking and Dagenham Youth Dance, Progress Project, Barking and Dagenham Volunteers Network and community groups associated with Becontree Broadcasting Station, a legacy project of Radio Ballads. 

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## **Rehana Zaman and Hibiscus** 

In collaboration with women affected by the immigration system and who have experienced incarceration, Rehana Zaman’s residency will examine the intersections of race, gender and class within the UK criminal justice system. Together, they will produce a collaborative film that asks questions about processes of racialisation bound by law, where UK jurisprudence is both constituted by and acts to entrench structures of racial domination. 

Hibiscus Initiatives, established in 1986 (and previously known as FPWP Hibiscus), is a voluntary sector organisation with a track record of delivering high quality services over nearly 30 years. Hibiscus have developed a widely acknowledged specialist expertise in working with Foreign National (FN) and Black, Minority Ethnic and Refugee (BMER) offenders and detainees in custody, detention and the community. Their person-centred approach is a model that engages and works with clients to support and empower them in dealing with what are often multiple and complex needs and, importantly, addresses the additional disadvantage that language and cultural barriers present. Their specialist expertise and experience in reintegration and resettlement and supporting migrant offenders and those at risk of offending, posits Hibiscus Initiatives as one of the leading organisations supporting foreign nationals involved in the criminal justice system in the UK. 

## **RAFTS: LIVE Workshops and concert** 

## **November 2022** 

## **Radio Ballads** 

Project partners: Green Shoes Arts, Barking and Dagenham Youth Dance, Project Well Being (Interfaith Sanctuary, Boise, Idaho) and London Contemporary  Orchestra. 

RAFTS: LIVE is a concert that interweaves stories, poetry and reflections around a seven-song oratorio that makes connections between work, mental health, home, recovery, and our environment. 

Amid the Covid-19 pandemic, artist and composer Rory Pilgrim developed RAFTS as the second chapter in a body of performance, film and sonic work exploring how the climate crisis relates to support structures in our everyday lives. The commission is narrated by the voices of eight residents of Barking and Dagenham from Green Shoes Arts: Hugh, Carina, Liam, Butterfly, Katy, Dee, Mark, and Eddie, who each in their own way reflect on what the symbol of a raft means to them. Further voices and people from near and far join the journey, including members of Barking and Dagenham Youth Dance, members of Project Well Being – a group for those experiencing homelessness in Idaho, USA – and solo singers Declan Rowe John, Robyn Haddon and Kayden Fearon. 

Inspired by the original Radio Ballads as vessels of time, the RAFTS concert explores how we mark time and act to enable support and prevent harm in both the short- and long-term. Using tools of prophecy, reflection and creativity, the concert takes us on a journey that contemplates which ‘rafts’ could be needed to navigate the future in times of change and uncertainty. 

_RAFTS: LIVE_ brings together over forty collaborators from Pilgrim’s _Radio Ballads’_ commission and leading up to the live version, Rory and the Civic team will be working closely with the project partners to realise the piece on a large scale. 

## **Radio Ballads Publication** 

The Radio Ballads publication will reflect on the four artists' commissions alongside sharing different bodies of research produced over three years of embedded work in social care services and community settings in the London Borough of Barking and Dagenham. The book will also include paintings, drawings and contextual materials that share each project’s collaborative research process. 

Centring the voices and embodied experiences of social care workers, and those receiving and giving care in more informal networks, the publication will  share complex and intimate stories of living and working in the current moment. The publication will also look at how artistic collaboration can create spaces to reflect on, and process, experiences of mental health, domestic abuse, terminal illness, grief and end of life care, as well as interdependence, and healing. 

Working with questions such as _‘how can artistic processes support systemic change?’_ , _‘what resources do we need in moments of change and challenge?’_ and _‘what keeps us connected?’_ - the Radio Ballads’ publication contemplates how to collectively imagine and navigate the future, demonstrating art’s capacity to create new possibilities for how to care, gather and govern together. 

## **Civic Futures** 

Through workshops with existing partners and connecting with other organisations and individuals that are working around issues of transformative justice and community care, the Civic Projects team will undertake research, develop proposals and build relationships for future long-term commissions in London and nationally. 

Artist and Practitioners: 

- Helen Cammock 

- Feminist Work for Change 

- • Camille Barton 

- Clean Break 

## **Pause Partnership** 

## **2022 – 2023** 

Civic Projects are continuing their work with LBBD partner Pause. The team will be building on the partnership developed during Radio Ballads by producing a recording of Pauses’ collaboration with artist Helen Cammock, and their song ‘Listening in Your Silence’. Following this we will work with practitioners to research and develop a series of workshops which will explore collaborative creative practices in this context. 

Pause works with women who have experienced - or are at risk - of repeated pregnancies that result in children being removed from their care. Pause recognises the women with whom they work as individuals, rather than defining them by the issues and challenges they face. Every Pause Programme is driven by the woman and her needs. The relationship between the woman and her Pause Practitioner is key. It is one which is secure, consistent and predictable; a relationship where women are valued and respected for who they are. They are encouraged to discover or uncover their individual identity, needs and aspirations. Pause will encourage them to be actively involved in all parts of the programme, take supported risks to learn new skills and have fun too. 

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## **We Rise Domestic Abuse Hub Partnership** 

## **Autumn 2022 – 2023** 

Emerging from the Domestic Abuse Commission, LBBD, the Civic team will work with the We Rise hub, building on relationships established through the last three years of Sonia Boyce’s commission. Through workshops, Civic will identify needs and desires of the group to scope possible collaborations and longer-term engagement around issues of domestic abuse and lived experience organising. 

We Rise is a domestic abuse hub and committee in the borough of Barking and Dagenham made up of domestic abuse survivors and advocates. The hub’s objective is to be able to provide a safe space for survivors of domestic abuse to meet like-minded people to share their stories and work towards improving confidence and wellbeing. To enhance survivors and their children’s lifestyles either by providing education, employment or wellbeing sessions along with providing relevant advice for people exiting abusive relationships. 

## **Support Structures for Support Structures** 

## **Autumn 2022 – 2023** 

After the success of the first year of Support Structures for Support Structures, a fellowship programme supporting artists working at the intersection of art, spatial politics and community practice, is being established for a second year. 

Support Structures for Support Structures is a fellowship programme initiated by Serpentine Civic, that supports up to ten artists and collectives working at the intersection of art, spatial politics and community practice. The fellowship consists of an unrestricted grant of at least £10,000 to develop creative ideas. It will also invite grantees to join an interdisciplinary network for support, development workshops and mentoring. 

Support Structures for Support Structures is conceived in collaboration with Sumayya Vally, the architect behind this year’s Serpentine Pavilion designed by Sumayya Vally, 

Counterspace, and Serpentine’s Civic Projects programme. The initiative is grounded in the history and current work of the Civic and Education programme, which for over a decade, has been supporting artists to work with people and communities across London to respond to the complexities of social change. 

The fellowship recognises that many practitioners that work across art, spatial politics and community practice are often not supported by grant programmes or institutions in a sustainable way. Support Structures for Support Structures aims to bridge this gap by nurturing and supporting emerging and existing practitioners, and creating pathways for learning, exchange and contemplation amongst the fellowship cohort. 

In 2022/23 a series of workshops with the first cohort of fellows will shape the future iterations of the fellowship. The workshops will prepare and engage the initial cohort, to begin a process of planning, improving and running the second round of the fellowship. 

## **Civic and Education Book** 

## **Launch Spring 2023** 

A (work) book for arts educators, organisers and those who are interested in working relationally with others, who want to use creative practice to disrupt the status quo and work towards social change. 

The book reflects on Serpentine Education and Civic’s work with artists and communities, responding to political and social urgencies. Through long term, collective processes, we centre embodied ways of learning, knowing and being that respond to the world and create spaces for people to imagine alternative visions for the future and collectively move towards liberation. 

Serpentine Education and Civic address issues such as migrant rights, care, schooling, police and prisons with individuals and groups excluded from the decisionmaking processes that shape the places where they live and work. Four research questions guide the programme; _how do we care in times of austerity? How do we navigate_ 

_an increasingly surveilled and gentrified city? How do we stand in solidarity with people’s struggles around migration and racism? How do we survive an increasingly competitive schooling system?_ The programme is grounded in a longterm study of radical pedagogy and is made up of ongoing artist commissions alongside toolkits and resources for change. 

The book is designed to use in and against organisations, to support dissenting and oppositional conversations. It offers challenges to neoliberal and colonial models of education in museums, arts organisations and other institutions, through commissioned texts, documentation of projects and practical exercises alongside socio-political timelines that outline a decade of crisis. 

- What are the most pressing social and political issues today and how can we collectively respond to them? 

- How can we challenge colonial and neoliberal models of education in museums, arts organisations and other institutions? 

- What is the role of artistic practice in working towards social change? 

- What are the possibilities for art education in a post pandemic world? 

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_Park Nights 2021: Jota Mombaca. Image credit: Hugo Glendinning_ 


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_The Magazine, Zaha Hadid Architects expansion. Image credit: Harry Richards_ 

## ↘ iMproving orgAniSATionAL reSiLience AnD SuSTAinABiLiTy 


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## → FinAnciAL revieW 

## **Overview** 

2021/22 saw a gradual return to a new normal as Serpentine reopened to the public. We continued to adapt our policies, processes, and buildings to ensure safe and effective operations and hybrid working for staff. Income was higher than 2020/21 chiefly due to sponsorship of the 2021 Pavilion, higher commercial revenues and further support from Arts Council England’s Culture Recovery Fund. The generosity of donors enabled us to continue supporting artists, develop a varied programmes of activities and invest in our operational infrastructure in another challenging year. Like other cultural institutions, our expenditure has been adversely impacted by inflationary pressures particularly in energy prices, and staff and materials shortages. Whilst we ended 2021/22 with a modest deficit, we are optimistic about the organisation's financial outlook because of Serpentine’s continuing innovative and exciting public programmes. 

## **Summary of Performance** 

Total income for the year was £11,428k (2021: £6,950k) and total expenditure was £11,452k (2021: £6,761k), resulting in a deficit for the year of £24k (2021: £190k surplus). 

In a year marked by uncertainty and increasing inflation, Serpentine was able to deliver the planned annual programme of exhibitions and activities including the new James Barnor, Hervé Télémaque and KAWS exhibition as well as the 2021 Pavilion. This rich and varied programme of exhibitions and activities had an impact on the unrestricted deficit which is £218k (2021: £142k). 

## **Income 2021/22** 

## **Principal Sources of Funding** 

|As in previous years, the majority of Serpentine’s income<br>is from donations. These totalled £6,471k (2021: £4,989k),<br>which accounts for 57% (2021: 72%) of total funds.|**Donations and Legacies**<br> _Grants_<br> _Donations & Support_|**£6.5M**<br>_£3.2M_<br>_£3.3M_|
|---|---|---|
|Serpentine’s grant allocation of £3,125k (2021: £1,216k)<br>from Arts Council England accounts for 27% of income. The|**Fundraising Trading Activities**|**£2.1M**|
|total grant income includes an annual National Portfolio|_Merchandise_|_£1.7M_|
|Organisation grant of £1,216k, and additional non-recurring|_Other Commercial Activities_|_£0.4M_|
|Culture Recovery Fund grant of £1,909k.<br>Trading income of £2,117k (2021: £565k) was signifcantly|**Income From Charitable Activities**<br> _Exhibitions_|**£2.8M**<br>_£1.3M_|
|higher than the previous year due to increases in sales of|_Education_|_£0.4M_|
|limited editions, gallery hire, a return of Mystery Nights,|_Architectural Commission_|_£1.1M_|



Trading income of £2,117k (2021: £565k) was significantly higher than the previous year due to increases in sales of limited editions, gallery hire, a return of Mystery Nights, and additional internationally held events such as Art Basel Miami and Frieze LA. 

Income from charitable activities was £2,840k, an increase of 103% (2021: £1,397k). This is largely due to a return of the Pavilion in 2021 which raised £1,068k (2021: £0), touring income and increased support towards education, digital and civic programmes. 


**----- Start of picture text -----**<br>
Total Income<br>£11.4M<br>**----- End of picture text -----**<br>


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## **Expenditure** 

In 2021/22, Serpentine was able to reopen the gallery spaces from May 2021, and delivered an interdisciplinary programme of work including exhibitions, the Pavilion, education programmes and digital projects. 

## Expenditure on: 

- Exhibitions was £5,950k (2021: £4,076k) and represented 52% (2021: 60%) of total expenditure for the year; 

- Education was £1,294k (2021: £739k); and 

- • The Pavilion totalled £1,215k (2021: £18k). 

Overall expenditure on charitable activities has increased to £8,459k (2021: £4,834k), in line with an increase in income. 

Fundraising costs of £1,869k (2021: £1,589k) are higher than last year due to regulatory and compliance pressures and a tougher fundraising environment. 

A more detailed analysis of income and expenditure is reported in notes 3 - 8 to the Financial Statements. 

## **Expenditure 2021/22** 

|**Raising Funds**|**£1.9M**|
|---|---|
|**Fundraising Trading Costs**|**£1.1M**|
|**Charitable Activities**|**£8.5M**|
|_Exhibitions_|_£6.0M_|
|_Education_|_£1.3M_|
|_Architectural Commission_|_£1.2M_|




**----- Start of picture text -----**<br>
Total Expenditure<br>£11.5M<br>**----- End of picture text -----**<br>


## ↓ AnnuAL FunDrAiSing AcTiviTieS 

## **Fundraising Practices** 

Serpentine’s Development team is structured to focus on different income streams, namely: Corporate and Partnerships, Individual Giving, Major Gifts, Trusts and Foundations, and Trading. 

Each area adheres to relevant rules and regulations and works within best-practice guidelines of the Charity Commission, the Fundraising Regulator, and the Institute of Fundraising, as well as Serpentine’s own policies, such as the Ethical Fundraising Policy. 

Serpentine’s fundraising activities are monitored by the senior management team, and additionally overseen and approved by the Board of Trustees. The Charity does not employ third parties to fundraise on its behalf. The Ethics Sub-Committee also monitors fundraising activities to ensure adherence to due diligence processes. Complaints are dealt with through Serpentine’s complaints and feedback procedures. In 2021/22 Serpentine received no fundraising complaints. 

The fundraising approach undertaken by the Development team is to take reasonable steps to understand the circumstances of each donor, including taking into consideration whether the donor is vulnerable or requires additional care or support to make informed decisions. Serpentine has complied with all data processing requirements in accordance with GDPR legislation and updated our privacy policy. A clear opt-out process is available on all electronic mailings and communication. 

## ↓ FunDrAiSing perForMAnce 

Under the leadership of the CEO and Artistic Director, the fundraising team had a positive year given the challenging circumstances. The significant contribution from the department has been key to Serpentine’s financial sustainability during this period. 

Corporate fundraising totalled £1,210k (2021: £292k), which is a significant increase from the previous year as we were successful in renewing or extending contracts with a number of high-profile partners. Individual Giving schemes break down into several levels of engagement and financial support. Despite another challenging year, the ongoing commitment of our supporters led to a membership group totalling 244 (2021: 225), with a combined income to the Charity of £918k (2021: £847k). 

We engage closely with our members through several committees including the Exhibitions Committee, the Education Committee, Cultural and Social Affairs Committee, and Future Contemporaries Committee. In 2021/22, as we come out of the pandemic, we were able to successfully organise a number of curated trips and events, which provided opportunity to re-engage with our members in person. 

Major gifts were all accepted in accordance with the Charity’s Ethical Fundraising Policy and following due diligence processes. The Development team carry out risk assessments on all new prospective donations or sponsorship opportunities of £10k or more. Major gifts totalled £2,907k (2021: £2,884k) over the financial year, including £1,950k from the Future Funds campaign. 

All funding achieved through grants from UK and international Trusts and Foundations - £91k (2021: £123k), followed the protocols and guidance of specific funder. 

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## ↓ FunDrAiSing evenTS 

## **The Summer Party** 

The Summer Party, the most important fundraising gala for the Serpentine, did not take place in 2021/22 for a second consecutive year as we continued to adhere to social distancing restrictions. However, Mystery Nights, a fundraising initiative to raise awareness of our young supporters’ membership scheme, was organised as planned in the last quarter of the financial year, generating revenues of £107k (2021: £0). 

## ↓ oTher incoMe generATing AcTiviTieS 

## **SG Commerce Limited** 

## **Gallery Hire** 

The Serpentine Trust owns 100% of the issued share capital of SG Commerce Limited, a company incorporated in England and Wales under registered number 8052071. Its financial performance has been consolidated into the Trust’s group accounts. 

Serpentine offers a unique event space for hire which attracts businesses and individuals. Gallery hire income in 2021/22 increased to £108k (2021: £17k) due to the gradual reduction of coronavirus restrictions. 

## **Magazine Restaurant** 

The company carried out non-charitable commercial trading activities for the Trust, primarily for the sale of limited editions prints, catalogues and other merchandise. In 2021/22, its annual turnover was £1,856k (2021: £522k), with profits of £985k (2021: £179k). The profit will be gifted to the Serpentine Trust. 

Benugo took over operation of The Magazine in the summer of 2021. Total income generated from the Magazine was £31k (2021: £0). 

## **Koenig Bookshop** 

Koenig Books continues to act as the main co-producer and distributor of Serpentine’s exhibition catalogues which are sold in the on-site bookshop which is the main London branch of Walther Koenig Books Ltd, Europe’s largest independent bookshop. It also stocks a broad range of artists’ books, monographs, and international titles relating to art, photography, architecture and design. 

## **Serpentine Online Shop** 

Serpentine’s shop and website offer a range of Serpentine limited editions, exhibition catalogues and merchandise, and titles released in parallel to the Serpentine programme. 

## **Limited Editions** 

Serpentine commissions limited edition prints in conjunction with its exhibition programme. In 2021/22 there was an expansion of our 50+1 portfolio, which was successfully launched in the previous year to celebrate the organisation’s 50th anniversary. Revenue for the year was £1,361k (2021: £417k), which represent a significant increase of 227% when compared to 2020/21. This was primarily due to strong sales of the _KAWS: NEW FICTION_ prints. 

## **Americas Foundation** 

The Serpentine Americas Foundation was launched in 2014 and is an independent charity which brings together supporters from across the Americas to serve as ambassadors for Serpentine. Americas Foundation members' generous support, which in 2021/22 amounted to £209k (2021: £189k), helps showcase the work of North and South American artists at Serpentine. Members receive access to a range of special events and programmes throughout the year, including two annual meetings in New York featuring noted artists, architects and global leaders. There is also a programme in October to coincide with Frieze London, gatherings at major international art events (such as Art Basel Miami Beach) and access to Serpentine's International Art Study trips with fellow supporters. 

## **Publications** 

Serpentine produces exhibition catalogues and journals to accompany the programmes. James Barnor, Jennifer Packer, Serpentine Pavilion 2021 and Hervé Télémaque’s catalogues were produced in 2021/22 in conjunction with each exhibition. Sales for the year were £183k (2021: £42k). 

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## ↓ riSK STATeMenT 

The Board of Trustees is responsible for ensuring that there are effective and adequate risk management and internal control systems in place. It discharges this responsibility through the Finance Sub-Committee and Operating Committee, which lead the review and management of the Trust's risk management framework. 

The Trustees have assessed all major risks to which the Charity is exposed. Risk areas reviewed include strategy, operations, financial performance, fraud, knowledge management, compliance, reputational and business continuity. For each, a programme of action or review has been developed, which is updated twice yearly. 

Although the possibility of another pandemic continues to be of concern, the greater risks for Serpentine arise from the current global political uncertainty. The impact is likely to be twofold: our ability to fundraise if our donors are affected by significant market volatility; and  cost inflation. 

In response to the continued threat of worldwide public health, ecological, and economic crises, the Trustees continued to take actions to ensure organisational resilience whilst reviewing and monitoring the evolving impact of external factors through more frequent board reporting. The specific actions included a revised strategy and income diversification plan and a riskbased review of reserves requirements. Serpentine developed and implemented a fraud risk register and an integrated data strategy to align audience development with fundraising. The organisation continued to champion equality, diversity and inclusion among staff, artists and audiences. 

## ↓ going concern 

Serpentine’s unrestricted (including designated) reserves were £2,892k at 1 April 2021 and £2,674k at 31 March 2022. Cash balances at 1 April 2021 were £3,727k and £3,491k at 31 March 2022. 

The expected decrease in reserves and cash was as a consequence of increased gallery staff and Pavilion costs in addition to the costs of implementing health and safety measures as staff returned to the offices. Furthermore, cash balances were impacted by the brought forward restricted funds of £114k being spent in 2021/22. 

The Serpentine Trust has considered its ability to continue as a going concern for the 12 months following the signing of the financial statements. Detailed budgets and cash flow estimates for 2023 and 2024 have been prepared, taking into account current national and global uncertainties and high inflation, and the Trust’s ability to manage the risks arising from these. 

After reviewing these and considering potential short and mid-term opportunities and risks, the Trustees have a reasonable expectation that the Trust has adequate resources to continue its activities for the foreseeable future. 

Accordingly, they continue to adopt the going concern basis in preparing the financial statements. 

## ↓ reServeS 

The Trustees regularly review the reserves of the Charity. This review encompasses the nature of and risks to income and expenditure streams, the need to match variable income with predominantly fixed expenditure commitments and the different types of reserves held by the Trust. 

In the past the policy has been to progressively build reserves with a target of between £2.7m and £3m of total unrestricted reserves to create greater flexibility and resilience, which was successfully achieved with unrestricted funds of £3,034k in 2019/20. The £3,034k comprises £2,567 free reserves, £195k designated funds and £272k fixed assets reserves. 

However, as expected, during the pandemic the unrestricted reserves decreased. The unrestricted funds of £2,674k at 31st March 2022 (2021: £2,892k) comprises £1,742k free reserves, £635k designated funds and £297k fixed assets reserves. 

The reserves thresholds were revised in 2021/22 to acknowledge the adverse impact of the pandemic on the organisation. Trustees recommended that, given the uncertainties, unrestricted reserves should be maintained between £2.5m and £2.7m. Trustees recognise that although the unrestricted reserves are within this range, as the organisation recovers from the pandemic, it will only be able to build up its free reserves to this level over the period of years. 

At 1st April 2021, the designated fund for the replacement of vital climate-control plant was £570k. During the year, the Trustees designated a further £65k towards this project, which now brings the total designated fund to £635k. 

Restricted funds, representing remaining funds donated to support specific education and exhibition programmes, have reduced from £114k to £0 as we utilised these funds to cover the relevant expenditure in the year. 

Endowment funds have increased from £10,842k to £11,150k thanks to the Future Funds campaign. The majority of this balance is the net present value of the North Gallery building (£7,954k) with the remaining expendable endowment funds held as capital. 

Total funds amount to £13,825k (2021: £13,848k). 

## **Unrestricted reserves / General Fund: closing balances at year-end** 


**----- Start of picture text -----**<br>
2015/16 £0.0M<br>2016/17 £0.6m<br>2017/18 £1.4M<br>2018/19 £1.7M<br>2019/20 £3.0M<br>2020/21 £2.9M<br>2021/22 £2.7M<br>**----- End of picture text -----**<br>


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## ↘ 

## STrucTure, governAnce � � AnD MAnAgeMenT 

↓ governAnce 

The charity is a charitable company limited by guarantee. It was founded in 1970 and was incorporated as a company in 1987. It is governed by Memorandum and Articles of Association, which were last amended in November 2015. The primary charitable objective is to promote, improve, develop and maintain public education in all forms of the arts and music. 

The Board members, as charitable Trustees and Company Directors, have the legal responsibility for the effective use of resources in accordance with the objectives of the Serpentine Trust and for providing effective leadership and direction. 

Directors delegate certain financial and operational functions to the Finance Sub-Committee and Operating Committee, which operate under specific Terms of Reference. The committees meet on a regular basis and their decisions are ratified by the full Board. 

Responsibility for strategy, planning and day-to-day management of operations is delegated to the executive team, who are considered to be the key management team, led by the Chief Executive Officer, Artistic Director and Chief Operating and Financial Officer. Formal reporting to the Trustees takes place regularly throughout the year. 

The Trustees are aware of the Charity Governance Code published in 2017, which sets out the principles and recommended practice for good governance within the sector. The Trustees are satisfied that the Charity applies the principles of the code within its current Governance arrangements. 

↓ BoArD oF TruSTeeS 

The Board of Trustees meets quarterly and is responsible for the Serpentine’s management and administration. The following is a list of the Trustees of the Serpentine Trust who served for all or part of the year to 31 March 2022. 

Michael R. Bloomberg Chairman Barry Townsley CBE Co-Vice Chairman The Hon Felicity Waley-Cohen CBE  Co-Vice Chairman Marcus Boyle Treasurer Jonathan Wood Lynette Yiadom-Boakye Sir David Adjaye OBE Amanda Sharp  OBE Ruth Mackenzie CBE Maja Hoffman Aditya Mittal Robert Rosenkranz Nicoletta Fiorucci Off. OSI Andrew Cohen 

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## ↓ FinAnce SuB-coMMiTTee 

The Finance Sub-Committee meets quarterly and  is  responsible for audit, finance, operations and  remuneration. 

Salaries, including those of the Executive team, are reviewed annually and any increases take effect from 1 April of the following financial year. Increases are based on benchmarking of average pay awards in the UK combined with the Trust’s ability to pay. The Trust is committed to ensuring that salaries are market competitive and fair, offering the London Living Wage as  a minimum to all staff. 

The Committee members are: 

Michael R. Bloomberg Chairman Barry Townsley CBE Co-Vice Chairman The Hon Felicity Waley-Cohen CBE  Co-Vice Chairman Marcus Boyle Treasurer Jonathan Wood 

## ↓ operATing coMMiTTee 

The Operating Committee usually meets every fortnight and is responsible for monitoring finances and operations. 

The Committee members are: 

Barry Townsley CBE Marcus Boyle Jonathan Wood 

Co-Vice Chairman Treasurer 

## ↓ ↓ eThicS recruiTMenT AnD coMMiTTee TrAining oF TruSTeeS 

The Ethics Committee meets quarterly and is responsible for developing and promoting Serpentine’s ethical principles. It safeguards and oversees the overall ethical health of the organisation, as well as the embedding equality, inclusion, and relevance values. The committee ensures that all corporate policies, practices, and decisions reflect the mission of the Serpentine and adhere to the highest ethical standards. It also promotes the debate and resolution of ethical situations that may arise. Additionally, it is responsible for the organisation's ethical fundraising practices. 

The Serpentine Trust periodically reviews its Board of Trustees to ensure that the range of skills required by the organisation is assessed and provided for. The recruitment process is an opportunity to improve the effectiveness of the Board, which provides invaluable expertise to Serpentine members of staff, who, at a senior level, are in contact with the Trustees on a regular basis. This collaborative working relationship is of immeasurable value to the organisation and ensures a transparent model of governance. 

Each Trustee undertakes an induction programme that includes meetings with the Chair, the Chief Executive Officer and members of the executive team as appropriate. Trustees do not exercise a management function but are encouraged to engage with areas of particular interest through close involvement with management and staff. Trustees give their time freely and no remuneration is paid, except for direct reimbursement of travel expenses. 

The Committee members are: 

Marcus Boyle Treasurer Andrew Cohen Amanda Sharp OBE Jonathan Wood Chair Lynette Yiadom-Boakye 

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_Park Nights 2021, NO SKY with Tosh Basco, Sophia Al-Maria: Taraxos. Serpentine x Modern Forms Sculpture Commission. Image credit: David Tett_ 

## ↘ puBLic BeneFiT STATeMenT 

The Trustees confirm that they have complied with the duty in section 17 of the Charity Act 2011 to have due regard to the Charity Commission’s general guidance on public benefit, ‘Charities and Public Benefit’. 

The Trustees believe that all the Serpentine Trust’s charitable service delivery is for public benefit and note that the great majority is made available to the public without charge. This includes its world-renowned Exhibitions and Education programmes, as well as its architectural commission. 


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## � environMenTAL SuSTAinABiLiTy � poLicy 

Serpentine acknowledges the climate emergency and recognises it as the most urgent issue of our time. We are a public institution committed to supporting artists and their visions of the future; we pledge ourselves to new ways of thinking and acting. 

Now entering RIBA stage 4 to replace the existing air handling units, enabling us to reduce our carbon emissions to 2.5 times lower than our currents heating installation. 

• 

- Extending the length of our exhibition runs and reducing exhibition turnover; 

As a central pillar of our programming, we have embedded environmental and ecological concerns across the galleries’ programmes, infrastructure and networks. We are committed to reducing our environmental impact and proud of our commitment to environmental sustainability. Serpentine is part of the Arts Council England Sustainability Spotlight Programme 2018-2022 delivered by Julie’s Bicycle, striving to reduce the environmental impacts of Band 3 National Portfolio Organisations to achieve measurable carbon reductions through the development of environmental management practice. 

- Analysing trends in the institution’s energy output to identify energy saving measures, and identifying new energy saving measures to reduce overall energy consumption; 

- Working to implement measures as outlined in the Serpentine Sustainability Action Plan; 

- Increasing staff and artist engagement with environmental issues as active participants in reducing the institution’s impact on the environment; 

- Continuing our use of 100% renewable electricity suppliers; 

- Highlighting ecological concerns through our programme; 

Our environmental policy takes a prominent place in all our operations, from procurement and staff travel to cleaning products and energy consumption. This includes using a renewable electricity supplier, Green IT, waste recycling, using recycled and environmentally friendly products where possible and moving towards ‘paperless’. Serpentine is also committed to pooling knowledge and convening its networks to share best practice. 

- Further exploring sustainable ways of making exhibitions at planning stage; 

- Encouraging caterers and other third-party event suppliers to use sustainable and environmentally friendly produce and to recycle to the highest standards. 

- • Proactively reducing the environmental footprint of our annual Architectural programme 

Areas of focus for 2022/23 include: 

## ↓ environMenTAL AcTion pLAn 

## **Objective 1:** 

Analyse trends in the institution’s energy output to identify energy saving measures: 

- Work with energy management company, Auditel, to measure and report on energy and water consumption using the online Carbon Calculator;  and 

- • Compile statistics to discuss ongoing improvements that can be made with the Head of Buildings and the Facilities team. 

## **Objective 2:** 

Implement energy-saving measures to reduce overall energy consumption over the three-year period: 

- Use the energy-consumption statistics to inform changes that will be made to Serpentine’s heat, light, water and air conditioning outputs; and 

- • Review practices on a quarterly basis. 

## **Objective 3:** 

Increase staff engagement with environmental issues ensuring they are active participants in Serpentine’s work to reduce the institution’s impacts on  the  environment: 

- Continue to increase staff awareness of the environmental work at staff meetings, in regular communications with staff and through a green working group, encouraging suggestions and improvements 

- Promote environmentally-friendly office practices – switching off computers, lights and fans when not in use and economising where possible on printing and use of paper and other office materials; and 

- Promote green travel and the cycle-to-work scheme among staff 

## **The objectives outlined will aim to reduce:** 

- Electricity: Current electricity is 1.3kWh, the aim is  to reduce this figure 3% year-on-year 

- • Water: Current water use is measured at 7,500m³, the  aim is to reduce this by 2% year-on-year; and 

- • Carbon footprint: 

   - 2019/20: >5% reduction from baseline 

   - 2020/21: >6% reduction from baseline 

   - 2021/22: >7% reduction from baseline 

• Working with Julie’s Bicycle who are supporting Serpentine in its progression towards net zero greenhouse gas emissions by 2050; 

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## ↓ ↓ SerpenTine SerpenTine environMenTAL poLicieS green TeAM 

We are dedicated to significantly reducing our environmental impact and proud of our commitment to environmental sustainability, through energy conservation, waste reduction and recycling. 

Our Environmental Policy takes a prominent place in all our operations, leading with replacement of the air handling units delivering a significant reduction in energy consumption, procurement and staff travel to cleaning products. 

## ↓ neW iniTiATiveS AcroSS The orgAniSATion 

We have switched to eco window cleaning: our cleaning methods incorporate a Purified Water Fed Pole System attaining excellent results and reaching heights up to 65ft. We do not use environmentally damaging products, only 100% purified heated water. All products used by our window cleaners for interior cleans are 76 certified plant-based solutions with added mineral ingredients to gently cut through any dirt and grime. We now use Green IT waste, which recycles all our old computers, etc: greenitdisposal.co.uk/about-us Serpentine green committee. 

Headed by the Head of Building and Operations, the committee meets quarterly with a representative from each department (Facilities, Programmes, Visitor Services, Communications, Development, Operations & Leadership Team) and discusses environmental performance, setting SMART (Specific, Measurable, Achievable, Realistic and Timing-agreed) targets. 

Our policy addresses the following: 

## **1.  Lighting** 

Artificial lighting accounts for 44% of the electricity use in the buildings. We have committed to buy Energy Star-rated light bulbs and fixtures, which use at least two-thirds less energy than regular lighting and have installed timers or motion sensors that automatically shut off lights when they're not needed within all offices. 

## **2.  Maximising Computer Efficiency** 

We commit to: 

• Investing in energy-saving computers, monitors and printers and making sure that old equipment is properly recycled. We use recyclers that have pledged not to export hazardous e-waste and to follow other safety guidelines; and 

- Donating old computers that still work, and are less than five years old, to organisations that will refurbish them and find them new homes 

## **3.  Print Smarter** 

We commit to: 

- Recycling toner and ink cartridges and buying remanufactured ones. 

- Setting every computer to mono-printing by default; and 

## **4.  Move towards ‘paperless’ where possible** 

We will: 

- Post employee manuals and similar materials online, rather than distributing print copies. This has already been adopted by payroll for pay slips and benefactor invites / information; and 

- Significantly reduce the design and print run of Christmas cards to avoid wastage, sending these online where possible. 

## **5.  Our Recycling** 

We have placed recycling bins in accessible, high-traffic areas and provided clear information about what can and cannot be recycled. 

Serpentine South Gallery – 49.68% general: 56.32% recycled 

Serpentine North Gallery – 81.08% general: 18.92% recycled 

An initial consultation with staff suggests that the implementation of extra bins and signage will have an immediate improvement on the above figures and a greater balancing with Serpentine ratio. 

## **6. Using recycled and environmentally friendly products wherever possible** 

We will: 

- Purchase office supplies and furniture made from recycled materials wherever possible 

- Purchase chlorine-free paper with a higher percentage of recycled paper content; and 

- Consider switching to lighter paper stock, hemp, cotton, etc. 

We commit to: 

- Providing reusable dishes, cutlery and glasses 

- Switching to Fair Trade and organic coffee and tea, and buying as much organic and local food as possible for parties and other events 

- Providing filtered drinking water only, removing bottled-water waste 

- Asking that third-party providers and contractors abide by the above criteria, including carbon footprint off-setting when non-recyclables are  unavoidable 

- Using nontoxic cleaning products; and 

- Purchasing furniture, carpeting and paint that are free of volatile organic compounds (VOCs) toxic  chemicals 

## **7.  Travel** 

We invest in videoconferencing and other technological solutions that can reduce the amount of employee travel, where appropriate. When travel is unavoidable, we take the train, bus or tube instead of a rental car. 

When renting is unavoidable, we choose rental agencies that offer hybrids and other high-mileage vehicles. 

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_Fragment of Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace for Frieze Sculpture Park © Counterspace, Courtesy Linda Nylind/Frieze._ 


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_James Barnor: Accra/London - A Retrospective (Installation view, 19 May – 24 October 2021, Serpentine) Photograph: Harry Richards @reportography_ 

## � FinAnciAL STATeMenTS 


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## � STATeMenT oF TruSTeeS’ »» reSponSiBiLiTieS 

The Trustees, who are also Directors of the Serpentine Trust for the purposes of company law, are responsible for preparing the Trustees’ Report and the financial statements in accordance with applicable law and United Kingdom Generally Accepted Accounting Practice (United Kingdom Accounting Standards). 

Company law requires the Trustees to prepare financial statements for each financial year. Under company law, the Trustees must not approve the financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the charitable company and of the incoming resources and application of resources, including the income and expenditure of the charitable company for that period. In preparing these financial statements, the Trustees are required to: 

- Select suitable accounting policies and then apply them consistently 

   - Observe the methods and principles in the Charities SORP 

- 

Insofar as each of the Trustees of the company at the date of approval of this report is aware, there is no relevant audit information (information needed by the company’s auditor in connection with preparing the audit report) of which the company’s auditor is unaware. Each Trustee has taken all the steps that he/she should have taken as a Trustee in order to make himself/herself aware of any relevant audit information and to establish that the company’s auditor is aware of that information. 

Crowe U.K. LLP has indicated its willingness to be reappointed as statutory auditor. The Trustees’ Report, including the Strategic Report, was approved by the Trustees at their meeting on 11 October 2022 and signed on their behalf by: 


Michael R. Bloomberg Chairman, Board of Trustees 11 October 2022 

- Make judgments and estimates that are reasonable and prudent 

- State whether applicable UK accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements; and 

- Prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in business. The Trustees are responsible for keeping adequate accounting records that are sufficient to show and explain the charitable company’s transactions, disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006 and the provisions of the charity’s constitution. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. 

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## � inDepenDenT AuDiTor’S reporT To The MeMBerS oF The SerpenTine TruST 

## **Opinion** 

We have audited the financial statements of The Serpentine Trust (‘the charitable company’) and its subsidiary (‘the group’) for the year ended 31 March 2022 which comprise the Consolidated Statement of Financial Activities, the Group and Charity Balance Sheets, the Consolidated Statement of Cash Flow and notes to the financial statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including Financial Reporting Standard 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice). 

In our opinion the financial statements: 

- give a true and fair view of the state of the group’s and the charitable company’s affairs as at 31 March 2022 and of the group’s income and expenditure, for the year then ended; 

- have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice; and 

- have been prepared in accordance with the requirements of the Companies Act 2006. 

## **Conclusions relating to going concern** 

In auditing the financial statements, we have concluded that the trustees' use of the going concern basis of accounting in the preparation of the financial statements is appropriate. 

Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on the charitable company's or the group’s ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue. 

Our responsibilities and the responsibilities of the trustees with respect to going concern are described in the relevant sections of this report. 

## **Other Information** 

The trustees are responsible for the other information contained within the annual report. The other information comprises the information included in the annual report, other than the financial statements and our auditor’s report thereon. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon. 

## **Basis for Opinion** 

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report. We are independent of the group in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. 

Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the audit or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. 

We have nothing to report in this regard. 

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## **Opinions on other matters prescribed by the Companies Act 2006** 

In our opinion based on the work undertaken in the course of our audit 

- the information given in the trustees’ report, which includes the directors’ report and the strategic report prepared for the purposes of company law, for the financial year for which the financial statements are prepared is consistent with the financial statements; and 

- the strategic report and the directors’ report included within the trustees’ report have been prepared in accordance with applicable legal requirements. 

## **Matters on which we are required to report by exception** 

In light of the knowledge and understanding of the group and charitable company and their environment obtained in the course of the audit, we have not identified material misstatements in the strategic report or the directors’ report included within the trustees’ report. 

We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion: 

- adequate and proper accounting records have not been kept; or 

- the financial statements are not in agreement with the accounting records and returns; or 

- • certain disclosures of Trustees' remuneration specified by law are not made; or 

- we have not received all the information and explanations we require for our audit. 

## **Responsibilities of Trustees** 

As explained more fully in the trustees’ responsibilities statement set out on page 195 the trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. 

In preparing the financial statements, the trustees are responsible for assessing the charitable company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the trustees either intend to liquidate the charitable company or to cease operations, or have no realistic alternative but to do so. 

## **Auditor’s responsibilities for the audit of the financial statements** 

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements. 

Details of the extent to which the audit was considered capable of detecting irregularities, including fraud and non-compliance with laws and regulations are set out below. 

A further description of our responsibilities for the audit of the financial statements is located on the Financial Reporting Council’s website at: www.frc.org.uk/ auditorsresponsibilities. This description forms part of our auditor’s report. 

## **Extent to which the audit was considered capable of detecting irregularities, including fraud** 

Irregularities, including fraud, are instances of noncompliance with laws and regulations. We identified and assessed the risks of material misstatement of the financial statements from irregularities, whether due to fraud or error, and discussed these between our audit team members. We then designed and performed audit procedures responsive to those risks, including obtaining audit evidence sufficient and appropriate to provide a basis for our opinion. 

We obtained an understanding of the legal and regulatory frameworks within which the charitable company and group operates, focusing on those laws and regulations that have a direct effect on the determination of material amounts and disclosures in the financial statements. The laws and regulations we considered in this context were the Companies Act 2006, the Charities Act 2011, together with the Charities SORP (FRS 102). We assessed the required compliance with these laws and regulations as part of our audit procedures on the related financial statement items. 

In addition, we considered provisions of other laws and regulations that do not have a direct effect on the financial statements but compliance with which might be fundamental to the charitable company’s and the group’s ability to operate or to avoid a material penalty. We also considered the opportunities and incentives that may exist within the charitable company and the group for fraud. The laws and regulations we considered in this context for the UK operations were General Data Protection Regulation (GDPR), Taxation legislation, and Employment legislation. 

Auditing standards limit the required audit procedures to identify non-compliance with these laws and regulations to enquiry of the Trustees and other management and inspection of regulatory and legal correspondence, if any. 

We identified the greatest risk of material impact on the financial statements from irregularities, including fraud, to be within the timing of recognition of income, and the override of controls by management. Our audit procedures to respond to these risks included enquiries of management, and the Finance Sub-Committee about their own identification and assessment of the risks of irregularities, sample testing on the posting of journals, reviewing accounting estimates for biases, reviewing regulatory correspondence with the Charity 

Commission, and reading minutes of meetings of those charged with governance. 

Owing to the inherent limitations of an audit, there is an unavoidable risk that we may not have detected some material misstatements in the financial statements, even though we have properly planned and performed our audit in accordance with auditing standards. For example, the further removed non-compliance with laws and regulations (irregularities) is from the events and transactions reflected in the financial statements, the less likely the inherently limited procedures required by auditing standards would identify it. In addition, as with any audit, there remained a higher risk of non-detection of irregularities, as these may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal controls. We are not responsible for preventing non-compliance and cannot be expected to detect non-compliance with all laws and regulations. 

## **Use of our report** 

This report is made solely to the charitable company’s members, as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company’s members those matters we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company’s members as a body, for our audit work, for this report, or for the opinions we have formed. 


Tim Redwood Senior Statutory Auditor For and on behalf of Crowe U.K. LLP Statutory Auditor London 

29th November 2022 

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## ↓ conSoLiDATeD STATeMenT oF FinAnciAL AcTiviTieS 

## **For the year ended 31 March 2022** 

(including income and expenditure accounts) 


**----- Start of picture text -----**<br>
Unrestricted Restricted Endowment Total Total<br>General Fund  Fund  Fund  2022 2021<br>Income and Endowments from: Note £  £  £  £  £<br>Donations and Legacies<br>Grants 3 3,142,204 – -  3,142,204 1,576,717<br>Donations & Support 4 2,328,805 – 1,000,000 3,328,805 3,412,128<br>Total Donations and Legacies 5,471,009 – 1,000,000 6,471,009 4,988,845<br>Fundraising Trading Activities<br>Merchandise 1,716,608 – – 1,716,608 505,177<br>Special Fundraising Events 237,145 – – 237,145 32,000<br>Gallery Hire and Other Commercial Activities 159,214 – – 159,214 17,300<br>Interest 4,044 – – 4,044 10,166<br>Total Fundraising Trading Activities 2,117,011 – – 2,117,011 564,643<br>Income from Charitable Activities<br>Exhibitions 5 150,000 1,170,348 – 1,320,348 1,029,501<br>Education 5 - 450,960 – 450,960 367,500<br>Architectural Commission 5 525,000 543,316 – 1,068,316 _<br>Total Income from Charitable Activities 675,000 2,164,624 – 2,839,624 1,397,001<br>Total Income  8,263,020 2,164,624 1,000,000 11,427,644 6,950,489<br>Expenditure on:<br>Raising Funds 6 1,868,806 – – 1,868,806 1,588,779<br>Fundraising Trading Costs<br>Merchandise 765,473 – – 765,473 288,445<br>Special Fundraising Events 305,932 – – 305,932 43,013<br>Gallery Hire 52,437 – – 52,437 6,802<br>Total Fundraising Trading Costs 1,123,842 – – 1,123,842 338,260<br>Total Costs of Raising Funds 2,992,648 – – 2,992,648 1,927,039<br>Net Income Available for Charitable Activities 5,270,372 2,164,624 1,000,000 8,434,996 5,023,450<br>Charitable Activities<br>Exhibitions 7 4,032,634 1,225,348 691,655 5,949,637 4,075,704<br>Education 7 784,353 509,960 - 1,294,313 739,488<br>Architectural Commission 7 671,665 543,316 - 1,214,981 18,448<br>Total Expenditure on Charitable Activities 5,488,652 2,278,624 691,655 8,458,931 4,833,640<br>Total Expenditure 8,481,300 2,278,624 691,655 11,451,579 6,760,679<br>Net (Expenditure) / Income (218,280) (114,000) 308,345 (23,935) 189,810<br>NET MOVEMENT IN FUNDS (218,280) (114,000) 308,345 (23,935) 189,810<br>Reconciliation of Funds:<br>Fund Balances Brought Forward at 1 April 2021 2,892,430 114,000 10,842,009 13,848,439 13,658,629<br>Fund Balances Carried Forward at 31 March 2022 2,674,150 – 11,150,354 13,824,504 13,848,439<br>**----- End of picture text -----**<br>


## ↓ BALAnce SheeT 

## **For the year ended 31 March 2022** 


**----- Start of picture text -----**<br>
Group Charity<br>2022  2021  2022  2021<br>Fixed Assets Note £  £  £  £<br>Intangible assets 13 109,112 146,837 109,112 146,837<br>Tangible assets 14 8,142,475 8,667,329 8,142,475 8,667,329<br>Investment 15 3,259,691 2,255,900 3,259,791 2,256,000<br>Total Fixed Assets 11,511,278 11,070,066 11,511,378 11,070,166<br>Current Assets<br>Debtors and Prepayments 16 1,172,610 2,254,833 2,481,812 2,667,578<br>Cash at Bank and In-hand 3,491,033 3,727,019 2,052,250 3,228,245<br>Total Current Assets 4,663,643 5,981,852 4,534,062 5,895,823<br>Liabilities<br>Creditors: Amounts Falling Due Within 1 Year 17 (2,350,417) (3,203,479) (2,220,936) (3,117,550)<br>Net Current Assets 2,313,226 2,778,373 2,313,126 2,778,273<br>Total Assets Less Current Liabilities 13,824,504 13,848,439 13,824,504 13,848,439<br>TOTAL NET ASSETS 13,824,504 13,848,439 13,824,504 13,848,439<br>The Funds of the Charity:<br>Unrestricted Funds  2,674,150 2,892,430 2,674,150 2,892,430<br>Restricted Income Funds  - 114,000 - 114,000<br>2,674,150 3,006,430 2,674,150 3,006,430<br>Endowment Funds 11,150,354 10,842,009 11,150,354 10,842,009<br>18 & 19 13,824,504 13,848,439 13,824,504 13,848,439<br>**----- End of picture text -----**<br>


The unconsolidated deficit of The Serpentine Trust for the year ending 31 March 2022 was £1,009k (2021: £11k surplus). _* The notes on pages 203 to 214 form part of these financial statements._ 

These Financial Statements were approved by the Trustees, authorised for issue on 11 October 2022 and signed on their behalf by 

Michael R. Bloomberg Chairman, Board of Trustees 11 October 2022 

All recognised gains and losses are included above and all activities are continuing.* 

> _* The notes on pages 203 to 214 form part of these financial statements._ 

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↓ conSoLiDATeD STATeMenT oF cASh FLoW 

## ↓ noTeS To The FinAnciAL STATeMenTS 

## **FOR THE YEAR ENDED 31 MARCH 2022** 


**----- Start of picture text -----**<br>
2022 2021<br>Cash flows from operating activities: Note £  £<br>Net cash provided by operating activities A 1,039,121 975,513<br>Cash flows from investing activities:<br>Interest on investments 4,044 10,166<br>Investment additions (1,003,791) (2,255,900)<br>Purchase of property, plant and equipment (275,360) (46,911)<br>Net cash used in investing activities (1,275,107) (2,292,645)<br>Cash flows from financing activities:<br>– –<br>Decrease in borrowing<br>– –<br>Net cash used in by financing activities<br>Change in cash in hand in the reporting period (235,986) (1,317,132)<br>Cash in hand at the beginning of the reporting period B 3,727,019 5,044,151<br>Cash in hand at the end of the reporting period B 3,491,033 3,727,019<br>Note A: Reconciliation of cash flows from operating activities 2022  2021<br>£  £<br>Net (expenditure) / income for the operating period  (23,935) 189,810<br>(As per the Statement of Financial Activities)<br>Adjusted for:<br>Interest income (4,044) (10,166)<br>Depreciation charges 837,939 842,190<br>Decrease / (Increase) in debtors 1,082,223 (461,421)<br>(Decrease) / Increase in creditors (853,062) 415,100<br>Net cash provided by operating activities 1,039,121 975,513<br>Note B: Notice of cash and cash equivalents 1 April 2021 Cash Flow 31 March 2022<br>£  £  £<br>Cash 3,727,019 (235,986) 3,491,033<br>Net cash and cash equivalents 3,727,019 (235,986) 3,491,033<br>**----- End of picture text -----**<br>


obligations. Accordingly, the Trust continues to adopt the going concern basis in preparing the financial statements as outlined in the Trustees’ Report. 

## **1 Principal accounting policies** 

## **a) Company Information** 

The Serpentine Trust is a Public Benefit Entity registered as a charity in England and Wales and a company limited by guarantee. It was incorporated on **c) Critical accounting judgements and key sources of** 24 July 1987 (company number: 2150221) and registered **estimation uncertainty** as a charity on 21 March 1988 (charity number: 298809). 

In the application of the charity’s accounting policies, which are described in this note, Trustees are required to make judgements, estimates, and assumptions about the carrying values of assets and liabilities that are not readily apparent from other sources. The estimates and underlying assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates. 

The company was established under a Memorandum of Association, which established the objects and powers of the charitable company and is governed under its Articles of Association. 

The registered address is Kensington Gardens, London W2 3XA. 

The estimates and underlying assumptions are reviewed on an on-going basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period, or in the period of the revision and future periods if the revision affects the current and future periods. 

## **b) Basis of Accounting** 

The consolidated financial statements have been prepared under the historical cost convention in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102), the Companies Act 2006 and the Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) - effective 1 January 2015. 

In the view of the Trustees, no assumptions concerning the future or estimation uncertainty affecting assets and liabilities at the balance sheet date are likely to result in a material adjustment to their carrying amounts in the next financial year. 

The financial statements have been prepared consolidating the results of the Trust and its subsidiary SG Commerce Limited (company number: 8052071). 

Critical judgments in applying the entity’s accounting policies: 

## _(i) Impairment of debtors_ 

The functional currency of the Trust and its subsidiary is considered to be GBP because that is the currency of the primary economic environment in which the group operates. The consolidated financial statements are also presented in GBP. 

The organisation makes an estimate of the recoverable value of trade debtors. When assessing impairment, management considers factors such as the ageing profile of debtors and historical experience. 

The Trust has taken exemption from preparing its Statement of Financial Activities under section 408 of the Companies Act 2006. The unconsolidated deficit for the Serpentine Trust in 2022 was £1,009k (2021: £11k surplus). 

## _(ii) Useful life and impairment of assets_ 

Assets are reviewed annually to assess that their useful life and carrying value are still appropriate. 

## **d) Income** 

As disclosed in the Trustees’ Annual Report, the Trust is largely dependent on the generosity of supporters therefore there is a level of uncertainty in the longerterm forecasts. However, considering future plans, budgets, cash flows and reserve levels as well as the risks and uncertainties, the Trustees have a reasonable expectation that the Trust has adequate resources and facilities in place to continue its activities for the foreseeable future. This is supported by regular reviews of organisation’s risk register and potential opportunities by the Senior Management Team and the Trustees in order to facilitates timely decision making, and to ensure that the organisation meets its 

All incoming resources are included in the Statement of Financial Activities, which the Trust is entitled to the income and receipt is probable and the amount can be quantified with reasonable accuracy. 

Gifts in Kind: Goods and services received at no costs for which the Serpentine Trust would otherwise have to pay for are recognised in the financial statements at the value to the charity where this can be reasonably quantified. 

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Voluntary income: Donations and grants are accounted for on a receivable basis unless they are given for a future specified period in which case they are deferred. 

Grants: Grant income is recognised in the statement of financial activities when received or when the charity becomes entitled to receipt. Grants that have been received will be treated as deferred income where there are specific requirements in the terms of the grant that the income recognition is dependent on certain activities being completed in a future accounting period. 

Trading income: Income received from the provision of goods or services is recognised in the year in which the good or service is provided, and so entitlement earned. 

## **e) Expenditure** 

Charitable activities and support costs comprise direct charitable expenditure including direct staff costs attributable to a particular activity. Where costs cannot be directly attributed, they have been allocated to activities on a basis consistent with the use of resources. This has been assessed by using an estimation of staff time spent on each activity as an average throughout the year. 

Governance costs are those incurred in compliance with constitutional and statutory requirements and are allocated across charitable activities as a separate component of support costs. 

All exhibition costs directly attributable to opening an exhibition are recognised in the year which the expenditure is incurred. Where appropriate, consideration around whether the expenditure meets the definition of an asset or liability will be made to ensure appropriate accounting treatment has been adopted. 

Other costs including the salaries of gallery assistants and similar costs incurred once the exhibition is opened are recognised once a third party has provided a service. 

## **f) Fund Accounting** 

The General Unrestricted Fund is available for use at the discretion of the Trustees in furtherance of the general objectives of the Gallery. Designated Funds are those unrestricted funds set aside by the Trustees for specific purposes or projects. 

Restricted Funds are subject to specific restriction imposed by donors or by the purpose of the appeal. The Refurbishment Funds are restricted funds. 

Permanent endowment funds are funds where the donors have stated that the funds are to be held as capital and only the interest may be spent. Expendable endowment funds are held as capital but are able to be converted into expendable income with the authorisation of the Trustees. 

## **g) Depreciation** 

Depreciation is recognised in the statement of financial activities as part of expenditure and is allocated across the expenditure headings on the same basis as Support & Governance costs. 

Capital expenditure in excess of £500 is capitalised and depreciated over its estimated useful life or the length of the lease. Current estimated useful lives for the major categories of fixed assets are: 

|<br>the major categories of fxed assets are:||
|---|---|
|Systems and Software|4years|
|Assets in the Course of Construction|Nil|
|Furniture and Equipment|4years|
|Computer Related Equipment|3years|
|BuildingImprovements|4years|
|Leasehold Property|20years|



## **h) Operating Leases** 

Rentals under operating leases are charged to the income and expenditure account as incurred. 

## **i) Foreign Currency Translation** 

Transactions in foreign currencies are translated at the exchange rate on the date of the transaction. Balances held in foreign currencies at the year-end are translated at the exchange rate at the balance sheet date. 

## **j) Financial Instruments** 

Financial assets and financial liabilities are recognised when the Trust becomes a party to the   contractual provisions of the instrument. Additionally, all financial assets and liabilities are classified according to the substance of the contractual arrangements entered into. 

Financial assets and liabilities are initially measured at transaction price (including transaction costs) and are subsequently re-measured where applicable at amortised cost. Assets and liabilities held in foreign currency are translated to GBP at the balance sheet date at an appropriate year-end exchange rate. 

## **2 Liability of the members** 

The Company is limited by guarantee. In the event of its winding up due to insufficient funds, the maximum liability of each member is £1. As at 31 March 2022, the company had 14 members, all of whom were Trustees. 

## **3 Revenue Grants** 


**----- Start of picture text -----**<br>
2022  2021<br>£  £<br>Arts Council England General Fund 1,215,690 1,215,690<br>Arts Council Funding: Culture Recovery Fund General Fund 1,909,249 -<br>Coronavirus Job Retention Scheme General Fund 17,265 361,027<br>3,142,204 1,576,717<br>4 Donations & Support<br>All general individual contributions provided to Serpentine are accounted for as unrestricted funds.<br>2022  2021<br>£  £<br>Funds provided by Serpentine Benefactors 2,006,475 1,793,908<br>General Donations to Serpentine 58,126 3,703<br>American Friends 208,862 188,732<br>Future Funds endowment 1,000,000 1,000,000<br>Museum, Galleries and Exhibition Tax Relief 55,342 425,785<br>Total Donations & Support 3,328,805 3,412,128<br>**----- End of picture text -----**<br>


## **5 Income from Charitable Activities** 


**----- Start of picture text -----**<br>
2022  2021<br>Unrestricted Grant From: £  £<br>Exhibitions:<br>Tour Income Various 150,000 15,000<br>150,000 15,000<br>Architectural Commission:<br>Pavilion Sale Various 525,000 –<br>525,000 –<br>Total Unrestricted 675,000 15,000<br>Restricted Grant From: £  £<br>Exhibitions programme Various Exhibition Patrons 1,170,348 1,014,501<br>Education programme Various Education Patrons 450,960 367,500<br>Architectural Commission Various Architectural Patrons 543,316 –<br>Total Restricted 2,164,624 1,382,001<br>**----- End of picture text -----**<br>


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## **6 Expenditure on Raising Funds** 


**----- Start of picture text -----**<br>
||||
|---|---|---|
|2022|2021|
|£|£|
|Staff Costs|796,071|779,501|
|Direct Costs|122,136|23,096|
|Support Costs|950,599|786,182|
|1,868,806|1,588,779|

**----- End of picture text -----**<br>


## **7 Charitable Activities** 


**----- Start of picture text -----**<br>
Unrestricted Restricted Fund Expendable  2022  2021<br>Endowment<br>£  £  £  £  £<br>Exhibition Costs<br>Installation & Materials 304,743 89,754 - 394,497 46,397<br>Transport 112,448 33,118 - 145,566 36,866<br>Organising Costs 1,040,269 306,380 - 1,346,649 330,404<br>Insurance Costs  260 76 - 336 -<br>Printing Material & Publicity Costs 92,900 27,361 - 120,261 66,839<br>Development Costs 21,167 6,234 - 27,401 5,674<br>Staff Costs 793,755 233,777 - 1,027,532 892,901<br>Support Costs 1,667,092 528,648 - 2,195,740 2,004,968<br>Depreciation - - 691,655 691,655 691,655<br>4,032,634 1,225,348 691,655 5,949,637 4,075,704<br>Education Costs<br>Education Programme Costs 328,110 206,930 - 535,040 142,885<br>Staff Costs 214,154 135,060 - 349,214 257,753<br>Support Costs 242,089 167,970 - 410,059 338,850<br>784,353 509,960 - 1,294,313 739,488<br>Architectural Commission<br>Direct Build Costs 432,771 343,312 - 776,083 -<br>Indirect Build Costs 100,210 79,496 - 179,706 18,448<br>Staff Costs 15,484 12,283 - 27,767 -<br>Support Costs 123,200 108,225 - 231,425 -<br>671,665 543,316  -  1,214,981 18,448<br>Total 5,488,652 2,278,624 691,655 8,458,931 4,833,640<br>**----- End of picture text -----**<br>


## **8 Support Costs** 


**----- Start of picture text -----**<br>
||||||||
|---|---|---|---|---|---|---|
|Fundraising|Exhibitions|Education|Architecture|2022|2021|
|£|£|£|£|£|£|
|Marketing Staff Costs|42,559|98,737|17,024|11,916|170,236|311,162|
|Support Staff Costs|236,225|548,041|103,939|56,694|944,899|829,238|
|General Marketing|82,922|192,380|33,169|23,218|331,689|109,016|
|General Overheads|571,053|1,324,843|251,263|137,053|2,284,212|1,832,006|
|Governance Costs:|
|Audit Costs|7,428|17,232|3,268|1,783|29,711|28,296|
|Staff Costs|7,239|7,146|-|-|14,385|11,344|
|Support Staff Costs|3,173|7,361|1,396|761|12,691|8,938|
|950,599|2,195,740|410,059|231,425|3,787,823|3,130,000|

**----- End of picture text -----**<br>


## **9 Net Income** 


**----- Start of picture text -----**<br>
||||
|---|---|---|
|2022|2021|
|Net Income is stated after:|£|£|
|Auditor’s remuneration:|
|Statutory audit|29,711|28,296|
|Tax & advisory services|5,565|4,900|
|Depreciation|837,939|842,190|
|Operating Lease Charges:|
|Land and Buildings|746,335|727,208|
|Other|12,620|4,063|

**----- End of picture text -----**<br>


## **10 Remuneration of Trustees** 

No Trustees received any reimbursed expenses or remuneration during the year (2021: £750). 

## **11 Staff Costs** 


**----- Start of picture text -----**<br>
2022  2021<br>£  £<br>Wages and Salaries 2,951,215 2,727,221<br>Social Security Costs 303,105 282,010<br>Pension Contributions 88,476 81,606<br>3,342,796 3,090,837<br>The following number of employees earned more than £60,000 during the year:<br>2022  2021<br>Number  Number<br>Employees earning £60,001 – £70,000 1 1<br>Employees earning £70,001 – £80,000 1 1<br>Employees earning £80,001 – £90,000 – 3<br>– –<br>Employees earning £90,001 – £100,000<br>Employees earning £100,001 – £110,000 2 –<br>Employees earning £110,001 – £120,000 – 1<br>Employees earning £120,001 – £130,000 2 –<br>Pension contributions of £19,624 (2021: £15,312) were made in respect of employees paid over £60,000.<br>Average monthly number of full-time equivalent employees, analysed by function:<br>**----- End of picture text -----**<br>



**----- Start of picture text -----**<br>
||||
|---|---|---|
|2022|2021|
|Number|Number|
|Exhibitions|21|22|
|Education|7|6|
|Fundraising|17|15|
|Support|19|16|
|Marketing|5|6|
|Total|69|65|

**----- End of picture text -----**<br>


Average number of employees during the year was 75 (2021: 78). 

The total aggregate cost of key management employee considerations for 2022 was £414,620 (2021: £365,660). Key management personnel were the CEO, Artistic Director and COFO. Redundancy costs during the year were £0 (2021: £7,038). 

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## **12 Operating Lease Commitments** 

During the next year, the Trust is committed to making the following annual payments on leasehold properties and plant and equipment under operating leases which expire: 


**----- Start of picture text -----**<br>
2022  2021<br>Land and Buildings £  £<br>Within one year 779,783 768,557<br>Within two to five years 3,306,454 3,240,018<br>After five years 4,635,181 5,481,400<br>8,721,418 9,489,975<br>Plant and Equipment £  £<br>Within one year 6,911 4,063<br>Within two to five years 5,709 -<br>- -<br>After five years<br>12,620 4,063<br>**----- End of picture text -----**<br>


## **13 Intangible Fixed Assets – Group and Charity** 


**----- Start of picture text -----**<br>
Systems and Software<br>£<br>Cost at 1 April 2021 374,856<br>Additions 30,577<br>At 31 March 2022 405,433<br>Depreciation at 1 April 2021 228,019<br>Charge for the year 68,302<br>At 31 March 2022 296,321<br>Net Book Value at 31 March 2022 109,112<br>At 31 March 2021 146,837<br>**----- End of picture text -----**<br>


## **14 Tangible Fixed Assets – Group And Charity** 


**----- Start of picture text -----**<br>
Furniture and  Building  Leasehold  Total<br>Equipment Improvements Buildings<br>£  £  £  £<br>Cost at 1 April 2021 476,969 4,747,375 13,833,094 19,057,438<br>Additions 119,483 125,300 – 244,783<br>Disposals (14,837) (4,629) – (19,466)<br>At 31 March 2022 581,615 4,868,046 13,833,094 19,282,755<br>Depreciation at 1 April 2021 468,964 4,733,738 5,187,407 10,390,109<br>Charge for the year 34,932 43,050 691,655 769,637<br>Disposals (14,837) (4,629) - (19,466)<br>At 31 March 2022 489,059 4,772,159 5,879,062 11,140,280<br>Net Book Value at 31 March 2022 92,556 95,887 7,954,032 8,142,475<br>At 31 March 2021 8,005 13,637 8,645,687 8,667,329<br>**----- End of picture text -----**<br>


## **15 Investments** 

|**15 Investments**||
|---|---|
|**2022**|**2021**|
|**£**|**£**|
|At start of the year<br>**2,255,900**<br>Additions<br>**1,003,791**<br>Disposals<br>**–**|–<br>2,255,900<br>–|
|_Net gains/losses_<br>**–**|–|
|**At end of the year**<br>**3,259,691**|2,255,900|



All investments are held in short term cash deposits. 

## **16 Debtors** 

|**16 Debtors**|||||
|---|---|---|---|---|
||**Group**||**Charity**||
||**2022**|**2021**|**2022**|**2021**|
||**£**|**£**|**£**|**£**|
|Trade Debtors<br>Amount due from SubsidiaryCompany|**147,178**<br>**-**|1,212,246<br>-|**103,976**<br>**1,292,004**|1,210,041<br>404,591|
|Sundry Debtors<br>Prepayments<br>Taxation and Social Security|**18,391**<br>**845,598**<br>**106,253**|1,509<br>499,581<br>93,323|**18,391**<br>**845,598**<br>**168,487**|1,509<br>498,826<br>104,437|
|Accrued Income|**55,190**|448,174|**53,356**|448,174|
|**Total**|**1,172,610**|2,254,833|**2,481,812**|2,667,578|



## **17 Creditors: Amounts Falling Due Within One Year** 

|**17 Creditors: Amounts Falling Due Within One Year**|**17 Creditors: Amounts Falling Due Within One Year**|||
|---|---|---|---|
|**Group**||**Charity**||
|**2022**|**2021**|**2022**|**2021**|
|**£**|**£**|**£**|**£**|
|Trade Creditors<br>**656,694**<br>Other Creditors<br>**-**|251,768<br>1,088,003|**622,985**<br>**-**|222,886<br>1,078,168|
|Accruals<br>**793,000**<br>Taxation and Social Security<br>**-**<br>Deferred Income<br>**810,222**|632,578<br>77,832<br>1,062,797|**727,936**<br>**-**<br>**779,514**|589,346<br>77,832<br>1,058,817|
|Provisions<br>**90,501**|90,501|**90,501**|90,501|
|**Total**<br>**2,350,417**|3,203,479|**2,220,936**|3,117,550|



Deferred income relates to annual Individual Giving memberships paid for future years £89k (2021: £146k), sponsorship received for future exhibitions and projects £657k (2021: £913k), corporate memberships for next financial year £33k (2021: £0) and income related to future booked events £31k (2021: £4k). 

The Other Creditors balance in 2021 relates to a loan guarantee of £1m which was provided by a Trustee in 2018 as security against a contractual receipt. This was repaid to the Trustee in full during 2022. 


**----- Start of picture text -----**<br>
£<br>Deferred Income b/fwd 1,062,797<br>Deferred in the year 810,222<br>Released to income from prior year (1,062,797)<br>Deferred Income c/fwd 810,222<br>**----- End of picture text -----**<br>


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## **18 Funds – Group and Charity** 

|**18 Funds – Group and Charity**|||||||
|---|---|---|---|---|---|---|
||**General**|**Designated**|**Restricted**|**Permanent**|**Expendable**|**Total**|
||**Fund**|**Fund**|**Income Fund**|**Endowment**|**Endowment**||
|||||**Fund**|**Fund**||
||**£**|**£**|**£**|**£**|**£**|**£**|
|_Total Fund Balances at 1 April 2021_|2,322,544|569,886|114,000|255,900|10,586,109|**13,848,439**|
|Income Received|8,263,020|–|2,164,624|–|1,000,000|**11,427,644**|
|Expenditure Incurred<br>Funds Transferred<br>**Total Fund Balances at 31 March 2022**|(8,481,300)<br>(65,000)<br>**2,039,264**|–<br>65,000<br>**634,886**|(2,278,624)<br>–<br>**–**|–<br>_<br>**255,900**|(691,655)<br>–<br>**10,894,454**|**(11,451,579)**<br>**–**<br>**13,824,504**|
||||||||
||||**At 1 April 2021**|**Income**|**Expenditure**|**At 31 March**|
|||||**Received**|**Incurred**|**2022**|
||||**£**|**£**|**£**|**£**|
|Various programmes|||55,000|1,214,624|(1,269,624)|**–**|
|Future Funds|||–|950,000|(950,000)|**–**|
|Radio Ballads|||59,000|–|(59,000)|**–**|
||||**114,000**|**2,164,624**|**(2,278,624)**|**–**|



## **Designated Funds** 

## **Future Funds** 

The designated fund is for the replacement of vital climate-control plant. During the year, the Trustees designated a further £65k towards this project which now brings the total designated fund to £635k. 

The Future Funds campaign is an initiative to recognise the vision and ambition associated with the Serpentine’s 50th anniversary. It looks to support the development of the live, education, digital and civic programmes in a more sustainable way, whilst also engaging supporters with our mission to promote, improve and develop public education in all forms of the arts. 

## **Expendable Endowment** 

Expendable endowment funds have increased from £10,586k to £10,894k thanks to the Future Funds campaign. The majority of this balance is the net present value of the North Gallery building (£8m) with the remaining expendable endowment funds held as a longterm capital. 

## **19 Analysis of Net Assets between Funds** 

|**19 Analysis of Net Assets between Funds**||||
|---|---|---|---|
||**Fixed Assets**|**Net Current**|**Net Assets**|
|||**Assets**||
||**£**|**£**|**£**|
|Unrestricted Funds:||||
|General Funds<br>Designated Funds|297,555<br>-<br>297,555|1,741,709<br>634,886<br>2,376,595|2,039,264<br>634,886<br>2,674,150|
|Restricted Funds|-|-|-|
|Endowment Funds|7,954,032|3,196,322|11,150,354|
||**8,251,587**|**5,572,917**|**13,824,504**|



## **20 Capital Commitments** 

## **21 Related Party Transactions** 

At 31 March 2022, there were no capital commitments authorised or contracted for. 

No related party transactions were entered into during the year to 31 March 2022 with exception of those with regards to SG Commerce, the Trust's subsidiary. At 31 March 2022, SG Commerce Limited owed the Trust a net balance of £1,292k (2021: £405k) which includes gift aid of £985k (2021: £179k). Management recharges of £220k (2021: £120k) were charged to SG Commerce Limited in the year by the Trust. 

The Serpentine Trust received £571k (2021: £787k) of donations from Trustees and a £1,950k (2021: £1,950k) donation from a Trustee's family foundation during 2021/22. One Trustee was Chair of Arts Council England’s London Area Council throughout 2021/22, see note 3 for income received from Arts Council in 2021/22. 

In 2018, a loan guarantee of £1m was provided by a Trustee as security against a contractual receipt. This was repaid to the Trustee in full during 2021/22. 

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## **21 Subsidiary Undertaking: SG Commerce Limited** 

The Serpentine Trust owns 100% of the issued share capital of SG Commerce Limited, a company incorporated in England and Wales. The company carried out non-charitable trading activities for the Trust, primarily as licensor of The Magazine restaurant, gallery hire and the sale of limited-edition prints and other merchandise. A summary of the results for the year are shown below: 


**----- Start of picture text -----**<br>
2022 2021<br>£  £<br>Turnover 1,855,630 522,477<br>Expenditure (870,363) (343,335)<br>Operating Surplus 985,267 179,142<br>Gift Aid to The Serpentine Trust 985,267 179,142<br>– –<br>Profit Before and After Tax<br>The Aggregate of the Assets, Liabilities and Funds was: 2022 2021<br>£  £<br>Current Assets<br>Debtors and Prepayments 45,036 2,959<br>Cash at Bank and In-Hand 1,438,783 498,774<br>1,483,819 501,733<br>Creditors<br>Amounts Falling Due Within 1 Year (1,483,719) (501,633)<br>Net Current Assets 100 100<br>100 100<br>Net Assets<br>Shareholders' Funds<br>Share Capital 100 100<br>– –<br>Profit & Loss for the year<br>100 100<br>**----- End of picture text -----**<br>


The subsidiary is part of a VAT Group comprising The Serpentine Trust and SG Commerce Limited. 

## **23 Prior Year Comparatives** 


**----- Start of picture text -----**<br>
2021 Statement Of Financial Activities Unrestricted Restricted Endowment Total<br>General Fund  Fund  Fund  2021<br>Income and Endowments from: £  £  £  £<br>Donations and Legacies<br>Grants 1,576,717 –  –  1,576,717<br>Donations & Support 2,412,128 –  1,000,000 3,412,128<br>Total Donations and Legacies 3,988,845 –  1,000,000 4,988,845<br>Fundraising Trading Activities<br>Merchandise 505,177 –  –  505,177<br>Special Fundraising Events 32,000 –  –  32,000<br>Gallery Hire and Other Commercial Activities 17,300 –  –  17,300<br>Interest 10,166 –  –  10,166<br>Total Fundraising Trading Activities 564,643 –  –  564,643<br>Income from Charitable Activities<br>Exhibitions 15,000 1,014,501 –  1,029,501<br>Education –  367,500 –  367,500<br>Architectural Commission –  –  –  –<br>Total Income from Charitable Activities 15,000 1,382,001 –  1,397,001<br>Total Income  4,568,488 1,382,001 1,000,000 6,950,489<br>Expenditure on:<br>Raising Funds 1,588,779 –  –  1,588,779<br>Fundraising Trading Costs<br>Merchandise 288,445 –  –  288,445<br>Special Fundraising Events 43,013 – – 43,013<br>Gallery Hire 6,802 – – 6,802<br>Total Fundraising Trading Costs 338,260 – – 338,260<br>Total Costs of Raising Funds 1,927,039 – – 2,555,353<br>Net Income Available for Charitable Activities 2,641,449 1,382,001 1,000,000 5,023,450<br>Expenditure on Charitable Activities<br>Exhibitions 2,406,548 977,501 691,655 4,075,704<br>Education 358,004 381,484 – 739,488<br>Architectural Commission 18,448 –  –  18,448<br>Total Expenditure on Charitable Activities 2,783,000 1,358,985 691,655 4,833,640<br>Total Expenditure 4,710,039 1,358,985 691,655 6,760,679<br>Net Income / (Expenditure) (141,551) 23,016 308,345 189,810<br>Reconciliation of Funds:<br>Fund Balances Brought Forward at 1 April 2020 3,033,981 90,984 10,533,644 13,658,629<br>Fund Balances Carried Forward at 31 March 2021 2,892,430 114,000 10,842,009 13,848,439<br>**----- End of picture text -----**<br>


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_Civic Projects Community Welcome Morning, July 2021. Photo: Matthew Ritson_ 

|**2021 Funds – Group**|**General**|**Designated**|**Restricted**|**Permanent**|**Expendable**|**Total**|
|---|---|---|---|---|---|---|
||**Fund**|**Fund**|**Income Fund**|**Endowment**|**Endowment**||
|||||**Fund**|**Fund**||
||**£**|**£**|**£**|**£**|**£**|**£**|
|_Total Fund Balances at 1 April 2020_|2,838,981|195,000|90,984|255,900|10,277,764|**13,658,629**|
|Income Received|4,568,488|–|1,382,001|–|1,000,000|**6,950,489**|
|Expenditure Incurred<br>Funds Transferred<br>**Total Fund Balances at 31 March 2021**|(4,710,039)<br>(374,886)<br>**2,322,544**|–<br>374,886<br>**569,886**|(1,358,985)<br>–<br>**114,000**|–<br>–<br>**255,900**|(691,655)<br>–<br>**10,586,109**|**(6,760,679)**<br>**–**<br>**13,848,439**|
||||||||
|**2021 Restricted Fund Analysis**|||**At 1 April 2020**|**Income**|**Expenditure**|**At 31 March**|
|||||**Received**|**Incurred**|**2021**|
||||**£**|**£**|**£**|**£**|
|Creativity Funds|||38,000|–|(38,000)|–|
|Various Programmes|||–|390,001|(335,001)|55,000|
|Future Funds<br>Radio Ballads|||18,000<br>34,984<br>**90,984**|950,000<br>42,000<br>**1,382,001**|(968,000)<br>(17,984)<br>**(1,358,985)**|–<br>59,000<br>**114,000**|



|**2021 Analysis of Net Assets between Funds**|**Fixed Assets**|**Net Current**|**Net Assets**|
|---|---|---|---|
|||**Assets**||
||**£**|**£**|**£**|
|Unrestricted Funds:||||
|General Funds<br>Designated Funds|168,480<br>–<br>168,480|2,154,064<br>569,886<br>2,723,950|2,322,544<br>569,886<br>2,892,430|
|Restricted Funds|–|114,000|114,000|
|Endowment Funds|8,645,687|2,196,322|10,842,009|
||**8,814,167**|**5,034,272**|**13,848,439**|




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## ↓ our SupporTerS ThAnK you 

## **Trustees of Serpentine** 

Michael R. Bloomberg _Chairman_ The Hon Felicity Waley-Cohen CBE and Barry Townsley CBE _Co-Vice Chairmen_ Marcus Boyle _Treasurer_ Sir David Adjaye OBE Andrew Cohen Nicoletta Fiorucci Russo Off. OSI Maja Hoffmann Ruth Mackenzie CBE Aditya Mittal Robert Rosenkranz Amanda Sharp OBE Jonathan Wood Lynette Yiadom-Boakye 

## **Council of Serpentine** 

Lady Elena Foster _Chair_ Narmina Marandi and Francis Sultana _Co-Heads of Cultural and Social Affairs Committee_ The Hon Felicity Waley-Cohen CBE _Head of Education Committee_ Iwan Wirth _Head of Exhibitions Committee_ Nina Fialkow and Kristín Ólafsdóttir _Co-Heads of Film Committee_ Veronica and Lars Bane Foundation Sofia Barattieri-Weinstein and Brian Weinstein Erin Bell and Michael Cohen Nicolas Berggruen Mrs Laurence Bet-Mansour Blavatnik Family Foundation Marcus Boyle Ivor Braka Donatella Campioni Miss Victoria Chang Priscilla and Louis de Charbonnieres XiaoMeng Cheng Nick and Caroline Clarry Andrew Cohen Carolyn Dailey Griet Dupont Ms Du Yan 

Dr Paul Ettlinger, Raimund Berthold and The London General Practice Nina and David Fialkow Nicoletta Fiorucci Russo and Giovanni Russo Wendy Fisher The Lord and Lady Foster of Thames Bank Alys and Jim Garman Sasan and Yassmin Ghandehari 

Richard and Odile Grogan Dr. Robert C. Hanea The David and Claudia Harding Foundation Gabriela Hearst Mr Huh Yongsoo Alex Ionescu Mark and Laura Laurence Camilla and John Lindfors Mrs Aarti Lohia Sanda Lwin and Farhad Karim Narmina and Javad Marandi Svetlana Marich Usha and Lakshmi N. Mittal Alexandre and Mahsa Mouradian Kristín Ólafsdóttir and Thor Björgólfsson Mr and Mrs Hussam Otaibi Catherine Petitgas The Don Quixote Foundation Julia and Hans Rausing Christian Ravina and Robin Woodhead The Red Mansion Foundation Frances Reynolds Yvonne Rieber Sybil Robson Orr and Matthew Orr Charlotte Dauphin de La Rochefoucauld and Charles-Henri de La Rochefoucauld Galerie Thaddaeus Ropac, London•Paris•Salzburg Karen and Ely Michel Ruimy Suzan Sabancı Dinçer Mr and Mrs Jean Salata Dr Catherine Schmid Anders and Yukiko Schroeder Mikolaj Sekutowicz and Sara Faraj Thea Sprecher John Studzinski CBE Odeta Stuikys Francis Sultana and David Gill Tamares Real Estate Holdings in collaboration with Zabludowicz Collection Tatiana Taypina Antigone Theodorou and Stefan Bollinger Laura and Barry Townsley Saffron and Ian Wace Robert and Felicity Waley-Cohen CBE The Lars Windhorst Foundation Manuela and Iwan Wirth White Cube Limited Jonathan and Lucy Wood 

## **Programmes supported by** 

303 Gallery Galería Albarrán Bourdais Sarah Arison Art Fund Bloomberg Philanthropies London Borough of Barking and Dagenham Camalotte Foundation Galerie Chantal Crousel The John S Cohen Foundation Corvi-Mora, London Paul Coulon Suzanne Deal Booth Nina and David Fialkow Nicoletta Fiorucci Foundation Fluxus Art Projects Gagosian David Glover Grace Farms Foundation Kenneth C. Griffin Agnes Gund HENI Simon Lee Luma Foundation Kate MacGarry Mayor of London Miettinen Collection Berlin – Helsinki Jan Mot Natasha Müller New Town Culture Outset Partners Catherine Petitgas Gilberto Pozzi Regen Projects The Rosenkranz Foundation Esther Schipper - Berlin Vega Foundation White Cube Lars Windhorst 

## **Platinum Corporate Benefactors** 

AECOM Bloomberg Floreat Group Goldman Sachs Modern Forms Muse, The Rolls-Royce Art Programme Tezos Ecosystem Therme Group VIVE Arts Weil, Gotshal & Manges 

## **Gold Corporate Benefactors** 

CHANEL Google Hublot Laurent-Perrier 

## **Silver Corporate Benefactors** 

Edwardian Hotels London FARFETCH Gallowglass Health and Safety The Pictet Group The Rolex Mentor and Protégé Arts Initiative 

## **Bronze Corporate Benefactors** 

DLD Media GmbH DP9 FIOL Samsung Stage One The Technical Department 

## **Founding Corporate Members** 

Bloomberg Citi Foster + Partners 

## **Annual Corporate Members** 

Julius Baer TD Securities 

## **Associate Corporate Members** 

Berenberg CBRE Dauphin Malevich The Peninsula Hotels Travers Smith 

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## **Americas Foundation Trustees** 

Susan F. Danilow Board Chair Marina Abramović Sarah Arison Abigail Baratta Kasseem “Swizz Beatz” Dean Robin Saunders Rirkrit Tiravanija Ted Vassilev Amanda Waldron 

## **Americas Foundation Supporters** 

Sarah Arison Debbie and Glenn August Abigail Baratta Abby and Matt Bangser Diego Berdakin Wendy and Matthew Cherwin Nancy and Steven Crown Susan and Greg Danilow Kasseem “Swizz Beatz” Dean Jennie and Richard DeScherer Jamie Drake 

The Edward John and Patricia Rosenwald Foundation Katherine Farley and Jerry Speyer Katia Francesconi 

Fuhrman Family Foundation Lauren Schor Geller and Martin Geller Monica Gerard-Sharp Laurie and Peter Grauer 

Scott D. Greenberg Kenneth C. Griffin 

Agnes Gund Mimi Haas 

Marlene Hess and James Zirin Hostetler/Wrigley Foundation Alex Ionescu 

Kadima Foundation 

Thomas L. Kempner Jr. Foundation Inc. Nicole and Joel Klein 

Eric Kranzler 

Marie-Josée and Henry Kravis Nancy Lainer 

Agnes Lew Robert C. Lieber Elizabeth S. and J. Jeffry Louis Max Stenbeck Foundation Lachlan Miles and Christopher Hill Sandra Muss Angella Nazarian 

Nelson Joy Charitable Fund Patty Newburger and Brad Wechsler Charlie Pohlad Scott Rechler | Rechler Philanthropy, LLC Ressler-Gertz Family Foundation The Rosenkranz Foundation Luz Angela Sarmiento Lisa Schiff Douglas Schoen Luz Angela Sarmiento Lisa Schiff Douglas Schoen Samira Sine Ed Skyler Gillian and Robert Steel Grazka Taylor TD Securities Tishman Speyer To.org Foundation Simona and Ted Vassilev Lisa Firestone von Winterfeldt and Caspar von Winterfeldt 

Amanda and John Waldron Hope Warschaw Maureen White and Steven Rattner Barbara and David Zalaznick 

## **Our Patrons** 

Kate Gordon _Chair_ Alka and Ravin Agrawal Jose Antonio Alcantara Kamel Alzarka Zachery and Deanne Anderson Dr Bettina Bahlsen Sassan Behnam-Bakhtiar Mr Roheen Berry Guya Bertoni Romanos Elie Brihi Adriana Buckley Burger Collection, Hong Kong Sir Colin and Lady Callender Chantal and Greg Chamandy Radhika Chanana Katherine Chapman Stemberg Terence and Niki Cole Coleridge Capital Cynthia Corbett Pilar Corrias Thomas Croft Colleen De Bonis Maryam Eisler 

## Alia Elgazzar 

Alessandro Maria Ferreri Kateryna Filippi Mr Tim Flynn Katia Francesconi Annie-Pierre and Laurent Ganem Mala Gaonkar Shea Goli Linda and Richard Grosse Francesca Guagnini Eva and Iraj Ispahani Mrs Mary Jeffers Cyrus and Victoria Jilla Mr Vladimir Kantor Mandhira Kapur Kosh Kar and Showa Kalla Tatiana Korsakova Mr and Mrs Lyndon Lea Simon and Carine Lee Simon and Lily Liebel Peder Lund Daniel Macmillian Nina Marenzi Carl Michaelsen Natasha Müller Opera Gallery London Christina Pamberg Alexander Platon Mrs Natasha Poonawalla Ahmed Rahman Marc Renard-Payen Luciana Rique Mrs Theresa Roberts Kimberley Robson Bianca Roden Henrietta Shields Per Skarstedt and Bona Montagu Matthew Slotover Mrs Varga Tamara Nayrouz Tatanaki Anita and David Taylor Michael Tian and Sharon Zhu Adi Tiroche Ms Warly Tomei Andrianna Whish Nori Vaccari Bill and Anda Winters Veronique Zorzi David Zwirner 

## **Future Contemporaries Committee** 

Robert Sheffield and Nicholas Kirkwood _Co-chairs_ HRH Princess Eugenie of York Alia Al-Senussi Milo Astaire Ashkan Baghestani Maria Baibakova Hannah Barry Efe Cakarel Laura De Gunzburg Alex Eagle The Hon Paola Foster Magdalena Gabriel Alexander Mason Hankin Joe Kennedy Karen Levy Eugenio Re Rebaudengo Annabelle Scholar Yassi Sohrabi Hikari Yokoyama 

## **Future Contemporaries Members** 

Jade Adams Filipe de Almeida Assis Jose Antonio Alcantara Mila Askarova Marco Assetto Jaclyn Auerbach Alastair Balfour Mrs Natasha Barnaba Andrew Bezhenar Lucas Bitencourt Christine Bowles Donella Bossi Pucci Monelle Bradshaw Keeli Brantl Romanos Elie Brihi Jonny Burt Jez Cartwright XiaoMeng Cheng Claudia Cheng Quaid Childers Chen Chowers Samantha Cortes Simon Lyall-Cottle Liv Cuniberti 

Mrs Helena Czernecka Mrs Melanie Damani Delahunty Fine Art Sophie De Mello Franco Cayda Sabancı Dinçer 

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Alia ElGazzar Alexandra Meyers Aindrea Emelife Nina Moaddel Dr. Michael Engel Aliya Modi Angela Enzo Fernando Moncho Lobo Perrine Falcone Cameron Most Emil Fattal Kate Munk Danae Filioti Kevin Nathan Eduardo Foster Devon Nocera Millie Jason Foster May Noradee Natalia Fuller, Galerie Max Hetzler Salar Nouri Maria Garmaeva Charlotte Rohani Eliza Osborne Yasmin Gee Santa Pastare Tracey Grace Claudia Paetzold Taymour Grahne Mr and Mrs Alexander Purcell Rodrigues Lise Grendene M. Qiu Marie Guerlain The Rt Hon. Sabina Ranger Anna Guggenbuehl Landau Jacob Rawel Michael Hadjedj Ariana Regalado Clarissa Hahn Piotr Rejmer Bibi Hamidi Jonathan Ridgway Laura M. Herman Sophia Robert Adam Irving Niklas Röhling Charles Janeway Francesca Roni Millie Jason Foster Ilenia Rossi Peter Jones Phoebe Saatchi Yates Lauren Joseph Valerie Sadoun Fereniki Kalamida Sally Eugenia Schwartz Meruyert Kaliyeva Miss Alaira Tirtha Shetty Zoe Karafylakis Sperling Laetitia Rose-Smith Simmy Kaur Joseph Spieczny Bella Kesoyan Jana Suhani Soin Angeliki Kim Jonsson Gigi Surel Catherine Kirby Roxana Sursock Karam Mrs Sonja Koenig Leopold Thun Casey Kohlberg Margo Trushina Anna Kuchina Elina Tsokri Dominic Kwok Alina Uspenskaya Philip Kwok Rachel Verghis Mr. Maged Latif Virginia Voena Pinyuan Li Angelina Volk James Lindon Alexa and Marcus Waley-Cohen Matilda Liu Luning Wang M-C Llamas Tish Weinstock Sonia Mak Katy Wickremesinghe Daniel Malarkey Agata Woloszczuk Jean-David Malat JD Malat Gallery Arthur Yates Joanna Masiyiwa Cassi Young Florence B M Mather Ms. Nerea de Zabala Magnus and Maria-Theresia Mathisen Nabil El Zaouk Lehmann Maupin Fabrizio D. Zappaterra Frederick McDonald Alma Zevi 

## **And any Council, Patrons and Future Contemporaries who wish to remain anonymous** 

## **Benefactors** 

With thanks to the Benefactors, our founding friends 

## **And kind assistance from** 

Bloomberg Philanthropies The Royal Parks 

## **Public Funding by** 

Arts Council England 

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_A view of Serpentine South from Serpentine Pavilion 2021 designed by Sumayya Vally, Counterspace,  © Counterspace. Photo: John Offenbach_ 


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