# **Annual Report Whitechapel Gallery**
For the year ended 31 March 2021
## **Whitechapel Gallery Annual Report and Consolidated Financial Statements** for the year ended 31 March 2021
Whitechapel Gallery: Registered Charity Number 312162
## Contents Page
Trustees’ Report ...................................................................................................................................... 2 A) Administration and Reference details……………………………………………………………………..………………….2 B) Objectives and Activities…………………………………….………………….…………………………..……………………..5 C) Achievements and Performance………………………..……………………………….…………………..………………….6 D) Plans for Future Periods…………….…………………………………………….…………………………..………………….20 E) Financial Report for the Year / Trustees’ Responsibilities…………………..…….…………..…………………..22 Independent Auditor’s Report to the Members of the Whitechapel Gallery ............................................. 26 CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES ......................................................................... 29 CONSOLIDATED BALANCE SHEET .......................................................................................................... 30 CHARITY BALANCE SHEET ..................................................................................................................... 31 CONSOLIDATED STATEMENT OF CASH FLOWS ....................................................................................... 32 NOTES TO THE FINANCIAL STATEMENTS ............................................................................................... 33
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## Trustees’ Report
## A) Administration and Reference details
|**Name of charity:**|Whitechapel Gallery|
|---|---|
|**Charity registration number:**|312162|
|**Registered Office:**|77-82 Whitechapel High Street|
||London|
||E1 7QX|
|**Auditors:**|Crowe U.K. LLP|
||55 Ludgate Hill|
||London|
||EC4M 7JW|
|**Bankers:**|Lloyds TSB Bank PLC|
||25 Gresham Street|
||London|
||EC2V 7HN|
|**Investment Managers:**|JP Morgan International Bank Ltd|
||1 Knightsbridge|
||London|
||SW1X 7LX|
|**Insurance Brokers:**|Gallagher Heath|
||133 Houndsditch|
||London|
||EC3A 7AH|
|**Solicitors:**|CMS Cameron McKenna|
||Mitre House|
||160 Aldersgate Street|
||London|
||EC1A 4DD|
||Bates Wells & Braithwaite|
||2-6 Cannon Street|
||London|
||EC4M 6YH|
||Taylor Wessing LLP|
||5 Newton Square|
||London|
||EC4A 3TW|
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## Board of Trustees
The following have been Trustees throughout the period to the date of this report, unless otherwise stated:
Alexander Sainsbury, Chairman Erin Bell Cllr Kevin Brady Peter Carew David Dibosa Ann Gallagher Anupam Ganguli Samantha Hill Jonathan Kanagasooriam Nicola Kerr Melanie Manchot Sarah Miller
## **Executive Team**
Iwona Blazwick OBE Director Tony Stevenson Managing Director Lydia Yee Chief Curator Amina Darwish (resigned Apr-21) Director of Commercial Enterprises Claire Gallagher (appointed Jul-21) Director of Commercial Enterprises Janine Catalano Director of Development Jennifer Lea Director of Communications Daniel Allison Director of Operations & Visitor Services Sofia Victorino (resigned Jan-21) Daskalopoulos Director of Education & Public Programmes Dr. Richard Martin (appointed Apr-21) Daskalopoulos Director of Education & Public Programmes
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## **Structure, Governance and Management**
Whitechapel Gallery is a charitable trust governed by a Scheme of the Charity Commissioners dated 10 November 1981, as amended by Schemes dated 10 May 1988 and 9 March 2001. The Gallery is registered for charitable purposes with the Charity Commission, Charity Registration No 312162.
The Gallery is governed by a corporate trustee: Whitechapel Gallery Trustee Limited. The Directors meet quarterly and are assisted by various committees, described below. Whitechapel Gallery Ventures Limited was incorporated on 1 April 2005 to carry out the commercial trading activities of the Gallery. Whitechapel Gallery Estates Trust Limited was incorporated on 9 May 2011 to maintain the Gallery’ s property.
In the financial year 2020-21 there were three executive subcommittees. The Finance Sub Committee (membership: Anupam Ganguli (Chair), Lew Hodges (independent external member), Erin Bell and Peter Carew monitored income and expenditure and continues to stand. The Investment Sub Committee (membership: Anupam Ganguli (Chair), Erin Bell and Peter Carew) guided financial investment decisions. The Nominations Committee (membership: Iwona Blazwick, Ann Gallagher, Alex Sainsbury, Anupam Ganguli) reviewed and made recommendations regarding Board membership. In addition, the Whitechapel Ventures Board (membership: Iwona Blazwick (Chair), Melanie Arnold, James Attlee, Tony Stevenson, Susanne Tide-Frater, Lizzie Moriarty and Tony Chambers) continued to support and guide trading activities. All advisory groups reported to the Board of Trustees.
The strategic management of the Gallery benefitted from the Chairmanship of Alex Sainsbury, embedding comprehensive risk management processes and best governance practice.
The day to day activities of the Gallery are controlled by a Director appointed by the Trustees. In 2020-2021 the position of Director was occupied by Iwona Blazwick. Key management personnel, referred to as Team Leaders, run departments and support the Director.
Remuneration for key management personnel is set by the Director and Managing Director within bands that are determined by sector benchmarks, experience and level of responsibility within the management structure.
The charity strives to meet the principles and outcomes of the Code by applying the recommended practice. The Trustees have recently reviewed the Whitechapel Gallery’s Governance Code and are confident that it aligns with the Charity Commission’s recommended practise.
## **Recruitment, Induction and Training of Trustees**
New Trustees are recruited according to the Trustees’, Director’s and Managing Director’s on -going assessments of the overall skills required to be represented on the Board of Trustees and what additional skills are needed to complete the required portfolio. Prospective new Trustees are recommended by the Nominations Committee to the Chairman who will assess the candidates and decide, in consultation with the Director, whether to propose their appointment. The Trustees take the final decision on the Chairman’s proposal.
Newly appointed Trustees receive briefings from the Chairman, Director and Managing Director and are provided with relevant Charity Commission guidance. Training is considered by the Chairman on a case-by-case basis.
## **Public Benefit**
The Board confirms that it has given due consideration to the Charity Commission’s published guidance on the Public Benefit requirement under the Charities Act 2011, including the guidance on public benefit and fee charging, when reviewing the charity’s aims and objectives and in planning future activities. The charity’s activities clearly relate to its legal objectives of advancing education in the arts and the provision of a gallery for the enhancement of the cultural welfare of the local community and the wider public. The activities undertaken and achievements described enable the reader to assess the contribution made by these activities t owards furthering the charity’s objectives. Details of attendances are included in the report. The charity’s strategy stresses the importance of ensuring the accessibility of its exhibitions and activities to all members of the public and offers free entry to exhibitions year round. Specific confirmation is also provided that trustees received no remuneration or benefits for their contribution to the charity and that no trustee was connected to any artist or exhibitor professionally engaged by the charity.
## **Governance Code**
The Trustees are aware of the Charity Commission ’s Governance Code for Larger Charities (published July 2017). The Code is based on seven principles of good governance: Organisational Purpose; Leadership; Integrity; Decisionmaking, Risk and Control; Board Effectiveness; Diversity, and Openness and Accountability.
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## B) Objectives and Activities
## **Charitable Objectives**
The objectives for which the Whitechapel Gallery is established are stated in the governing document of 10 November 1981 as:
_The provision and maintenance of an art gallery for exhibition to the public of modern and historical fine art; modern and historical design and applied art; and work done by school children and local communities._
_Promoting and encouraging the education of the public in the arts both in the Gallery and elsewhere._
These objectives are met by the operation of an art gallery on Whitechapel High Street in London, and by related educational and other activities.
(1995), _Faces in the Crowd_ – _Manet to Wall_ (2004) and _Adventures of the Black Square_ , _Abstract Art and Society 1915-2015_ (2015).
The Gallery is open year-round and gives free admission to exhibitions, artist commissions, collection displays and historic archives. It also offers a wide range of education resources, courses, a cafe and bookshop.
The Gallery is a touchstone for modern and contemporary art internationally, plays a central role in L ondon’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant art quarter.
The Whitechapel Gallery is a not for profit educational charity. It is part funded by the Arts Council England and other public statutory bodies. It also raises and earns around 60% of its income.
## **Mission, Vision and Values**
## **Programme**
## **Vision**
To bring modern and contemporary art and ideas to local, national and international audiences and to promote freethinking, creativity and learning.
To present a consistently excellent and diverse programme of exhibitions, commissions and displays of British and international modern and contemporary art; to disseminate art and ideas through events, debates, activities and publications; and to contribute to the cultural heritage of the future through the stewardship of our archive.
## **Mission**
To present a diverse and consistently excellent programme of exhibitions, events, publications and educational activities; to expand our audiences; and to maintain and conserve a landmark building.
## **Values**
To be a pioneering, professional, inclusive, entrepreneurial and outwardly facing organisation.
For over a century the Whitechapel Gallery has premiered world-class artists from modern masters such as Barbara Hepworth, Pablo Picasso, Jackson Pollock, Mark Rothko, Gerhard Richter and Frida Kahlo; to contemporaries such as Zarina Bhimji, Sophie Calle, Lucian Freud, Isa Genzken, Sarah Lucas, Wilhelm Sasnel and Thomas Struth.
## **Audiences**
To programme and communicate with the aim of broadening our audiences locally, in London, nationally and worldwide; and to promote the Whitechapel Gallery as a cultural destination.
## **Organisational**
To be a diverse, professional, entrepreneurial and outwardly facing organisation and a fair and responsible employer. To work within sustainable resources and financial parameters and with clear structures of governance.
## **Building**
To create an accessible and welcoming social, intellectual and artistic place for reflection, creativity and innovation. To maintain and conserve the architectural legacy of the Whitechapel Gallery and former Library in accordance with their historic building listed status.
It also presents important theme shows such as _This is Tomorrow_ (1956), _Seven Stories about Modern Art in Africa_
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## C) Achievements and Performance
## **An Overview**
2020/2021 programmes, activities and audience engagement were defined by the impact of the Covid 19 pandemic. In order to protect visitors and staff and following government guidance the Whitechapel Gallery closed its doors on 18 March 2020, the first of three periods of closure. Having re-opened on 14 July 2020 the Gallery was forced to close again from November – December 2020 – and from January May 2021 in compliance with Government mandated national lock-downs.
During these periods, works of art had to remain on site as art handlers and shippers remained in quarantine. The Gallery maintained full environmental and security measures. While all staff worked from home, individual members of the operations team were given dispensation to visit and monitor the gallery and check conditions. Exhibitions and displays already on site were extended with permission from artists and lenders. All future programmes were rescheduled. When our doors re-opened and programmes recommenced further challenges were presented by the complexities of Brexit. Audience capacities were reduced by 75% to enable social distancing.
Revenues from box office, venue hire, publications and editions’ sales plummeted. Working around the clock the team was able to fundraise, calling on the generosity of donors, trusts and foundations and corporations. Crucially, the Gallery was able to protect its staff through the Government furlough scheme; and to stabilise its finances through the receipt of two grants from the Arts Council’s Cultural Recovery Fund. The loyalty and kindness of artists and patrons also resulted in a record breaking Art Icon Gala.
## _**Escape**_ **: Gary Hume Explores the Hiscox Collection,** _**Home:LiveIn Room**_ **: Youth Forum Selects form the Hiscox Collection** and _**Exercising Freedom: Encounters with Art, Artists and Communities**_ .
_**Artists Film International**_ featuring moving image works made by artists from 22 partner countries was presented as an online festival through the year.
## **World Class Artists**
The first UK solo exhibition of German artist **Kai Althoff** (b.1966) featured a survey of his mysterious figurative paintings, works on paper and photographs. Conceived as a total work of art the exhibition included around 100 works alongside a tribute display of the British studio potter, **Bernard Leach** (1887-1979) who stands as an inspiration for the artist. _**Kai Althoff goes with Bernard Leach**_ was presented in two parts. In Gallery 1, the artist installed his paintings beneath a canopy of milky polythene covered with dead leaves. The exhibition was densely hung on undecorated gallery walls and a zigzag of free-standing grey screens designed by the artist. His work draws on European myths, socio-political histories fused with an autobiography defined by his subjectivity as a gay man and his life in Cologne and Brooklyn. Highly wrought oil paintings, watercolours and drawings veer between dream and nightmare, folklore and fantasy. Sixteen Althoff designed metal vitrines contained ceramic pots, dishes, bowls, tiles, a necklace and buttons by Bernard Leach. They were placed on an exquisite textile woven by ‘activist weaver’ Travis Meinolf as the Althoff’s exemplar of art as vessel.
## **Emerging Trends**
With ingenuity, creativity and resilience colleagues pivoted activities online to provide meaningful content and dialogue with artists and audiences around the world. Despite only being open to the public for an aggregate of four months the Gallery was able to present two popular and critically acclaimed seasons of work throughout the building.
Two seasons of exhibitions, collection and archive displays, commissions, screenings and public talks presented art and ideas from around the world that fused artistic experiment with wider cultural and social themes.
The first season featured _**Radical Figures**_ , **Carlos Bunga: Something Necessary and Useful** , **La Caixa Foundation, Rachel Pimm** and _**A New Spirit in Painting**_ all extended from the previous financial year until August 2020.
The second season featured _**Kai Althoff Goes with Bernard Leach**_ , **Nalini Malani:** _**Can You Hear Me? Accelerate Your**_
_**Radical Figures: Painting in the New Millennium**_ featured figurative painters who transform current affairs, identity politics and a collective unconscious into epic polychromatic canvases. **Michael Armitage** (b.1984, Kenya) and **Daniel Richter** (b.1962, Germany) draw on exile, sexual politics and violence in Africa, the Mediterranean and Afghanistan using colour and figuration to monumentalise untold stories. **Cecily Brown** (b.1969, UK), **Sanya Kantarovsky** (b.1982, Russia) and **Dana Schutz** (b.1976, USA) give roiling painterly form to ancient myths and the associative images of dreams and nightmares. **Nicole Eisenman** (b.1965, France) offers complex allegories on survival in 21[st] century America while **Ryan Mosley** (b.1980, UK) transforms art historical scenarios into carnivalesque scenes. **Tala Madani** (b.1981, Iran) and **Tschabalala Self** (b.1990, USA) capture the everyday life of respectively Tehran and Harlem with a subversive wit; while **Christina Quarles’** (b.1985, USA) polymorphous nudes are an exuberant celebration of sexual
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desire. Critically acclaimed this show defined the global reemergence of figurative painting as 21[st] century avantgarde.
The gallery’s global moving image consortium continued to exchange important artists’ films. The summer season the theme of language featured in order of screening, Dominika Olszowy (b.1982, Poland), **Lisa Tan** (b.1973, USA) and **Ailbhe NiBhriain** (b.1978, Ireland).
The autumn season premiered films by **Evgeny Granilshchikov** (b.1985, Russia), **Daisuke Kosugi** (b.1984, Japan), **Francesco Pedraglio** (b.1981, Italy), **Leticia Obeid** (b.1975, Argentina), **Raqs Media Collective** (India), **Yao Qingmei** (b.1982, China), **Bojan Fajfric** (b.1976, Serbia), **Ergin Cavusglu** (b.1968, Bulgaria) and **Anastasia Sosunova** (b.1993, Lithuania).
In light of the huge impact of Covid on physical and mental health, the spring season of f ilms focused on ‘care’. They featured the work of **Rehena Zaman** (b.1982,UK), **Sena Basoz** (b.1980, Turkey), **Claire Langan** (b.1967, Ireland) **Wojciech Dada** , **Katarzyna Gorna** and **Rafal Jakubowicz** (b.1964, 1968, 1974, Poland).
## **Curatorial Expeditions into World Art**
The last display from _la Caixa Collection of Contemporary Art_ in Spain was selected by Mexican author **Veronica Gerber Bicecci** and extended from the previous financial year. _In the Eye of Bambi_ , inspired by **Victoria Civera’s** painting of the deer’s fearf ul cartoon eye brought together works on a post-apocalyptic theme by a cosmopolitan roster of artists. **Carmen Calvo’s** tiny ceramic trees present ‘a cemetery of nature’; **Sophie Ristelhueber** photographs depict munitions from conflicts in the Middle East as modern-day ruins. **Bleda y Rosa’s** photographs depict colonial battle-sites overgrown and erased by nature. **Concha Garcia’s** alien scarlet creeper reared up in the centre of the gallery; while **Carlos Amorales** vibrant animated film shows the world disintegrating and mutating into new forms of life. Echoing this post human landscape Civera’s extraordinary novella imagines language itself as a new form of life.
Inspired by the title of a work by **Haim Steinbach** in the Hiscox Collection, British painter **Gary Hume** titled his selection _Accelerate your escape_ ! The Hiscox collection is experienced by thousands of office workers, who can encounter works of art by famous artists and young unknowns throughout the offices, meeting rooms and lobbies of this global insurance company. Hume searched the collection for works that deploy colour and form to transcend the trials of everyday life and the confinement of lock-down. Luminous pigment glows in **Yves Oppenheim’s** vivid abstract painting, while modernist master **Victor Pasmore** uses line to suggest erotic biomorphic forms. Hume revelled in the poetics of the everyday with **Nan**
**Goldin** ’s beautiful photo of a dilapidated bathroom, or **Kathleen Ryan’s** bejewelled sculpture of a rotting lemon. The theme revealed unexpected storylines – **Noemie Goudal’s** constructed photos evoke science fiction dystopias, while **Keith Coventry’s** bronze cast of a broken sapling is a poignant reminder of life in gritty council estates. The display also featured **Etel Adnan, Darren Almond, Edward Burtynsky, Willie Doherty, David Hockney, Howard Hodgkin, Alex Katz, Simon Keenleyside, Ron Nagle, Eduardo Paolozzi, Tal R, Thomas Ruff, Prem Sahib, Haim Steinbach** and **Alison Wilding** .
## **Curatorial diversity and inclusion**
In an exciting new curatorial initiative the Whitechapel Gallery’s youth collective, Duchamp & Sons were invited to become guest curators of the Hiscox Collection. Having been confined to their homes they were invited to select and hang physical works of art in the gallery virtually. The young people were mentored by artist Gary Hume, the director of the Hiscox Collection, Whitney Hintz and the Gallery’s curatorial team. They learnt about the genesis and value of collections of art; technical aspects of borrowing and conserving works of art; installation techniques and how to write interpretation and marketing copy. Their display, titled _Home: Live In Room_ complimented _Accelerate your escape_ and was divided between two rooms. The first featured works that take imaginative leaps into fantastical landscapes by **Edward Burtynski, Peter Doig, Barbara Karsten, Langlands and Bell, Trevor Paglen** and **Lisa Oppenheim** . The second display turned inwards with unsettling depictions of domestic life (and death) by **Richard Billingham, Gregory Crewdson** and **Cornelia Parker** .
This trial initiative delivered professional training for the young people creating a pipeline for future curators. It gave them a platform for expression after months of lock down; and shone a different perspective and interpretation on works of art.
The curatorial experiment was deemed highly successful by the participants, the guest collection and by audiences. It will form the basis of a new strand of curatorial participation for local communities, school children and young people.
## **New Commissions**
The Whitechapel Gallery continued to enable artists to realise their vision through site responsive commissions.
Angolan born Portuguese artist **Carlos Bunga** (b.1976) transformed the vaulted ceilings and ornate columns of Gallery Two into a monumental environment constructed entirely from cardboard. In this environment premiered in January 2020, visitors found themselves in a ruined street with flaking pastel surfaces reminiscent of Mediterranean
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domestic architecture. A cavernous interior included pieces of historic furniture, once valued for their craftsmanship and function, but now discarded. Inspired by the Shaker community in America, Bunga lined the walls with a wooden rail from which hung clothing, artisanal tools and Shaker ladder-back cha irs. Bunga’s _**Something Necessary and Useful**_ equated making with a kind of prayer.
One of India’s most senior artists, **Nalani Malani** (b.1946) is renowned for her multi-media installations. She transformed Gallery 2 into ‘an animation chamber’ where 9 films projected giant heads, skipping girls, humans mutating into bacteria and fragments of text in a work titled _**Can You Hear Me?**_ In this new commission for London the violent death of a child in India launched a flow of images and ideas that address global issues of sectarianism, sexism and postcolonial legacies. In Malini’s universe the voiceless share centre stage with goddesses, intellectuals and poets. Moral outrage combined with a rollicking delight in satire and absurdity.
The Gallery continued its programme of commissioning editions by artists producing beautiful new prints and multiples that were launched online reaching an international collector base.
## **Art and Society**
_**Exercising Freedom: Encounters with Art, Artists and Communities**_ revisited a foundational moment in the history of art education. It was in the late 1970s that Community Education Organiser Jenny Lomax initiated a new approach to education that involved working with young artists as creative mediators. Alumni include **Zarina Bhimji, Sonia Boyce, Maria Chevask, Fran Cottell, Charlie Hooker, Jefford Horrigan, Rob Kesseler, Kathy MacCarthy, Stephen Nelson, Veronica Ryan** and **Jo Stockham** . Each artist devised workshops and performances that enabled audiences to experience exhibitions as collaborators. The display of archive materials included works by artists and a host of local communities from every age, socio-economic background, ethnicity and ability. The programme also involved setting up artist’s residencies in school and community centres, revolutionising museum education programmes.
In response to the Black Lives Matter movement the Gallery also initiated a series of all staff workshops led by external consultants and mentors on how to further diversify the workforce, our programmes and our audiences. _Action for Change_ is an ongoing and evolving process with short and long term objectives.
## **New Art Histories**
_**The Return of the Spirit in Painting**_ was an archive display that related _Radical Figures_ with a similar surge in figuration in the 1980s, heralded by the Royal Academy’s _A New Spirit_
_in Painting_ . Co-curated with former Whitechapel Gallery director Nicholas Serota, alongside Christos Joachimides and Norman Rosenthal, it featured painters from Europe and America who had rejected the minimalist and conceptual movements of the 1970s for a return to depicting history, mythology and the sublime. Featuring paintings by some original exhibitors, including **Georg Baseliz, Bruce McLean, Mimmo Paladino** and **Julian Schnabel** , the display showed how narrative figuration came to dominate the 1980s. Its white, all-male line-up was in marked contrast with the diversity celebrated by _Radical Figures_ .
## **– Whitechapel Gallery Offsite reaching new audiences**
The Whitechapel Gallery used the occasion of a global captive audience to become a broadcaster, securing new software, equipment and training to stage a strong online programme complemented by blogs and podcasts. Live broadcasts deployed Instagram Live, YouTube and Zoom. Produced in house, Podcasts could be downloaded from the website, the Bloomberg Connects app, Soundcloud and iTunes.
## **Discussion, Debate, Dissemination**
The new Whitechapel Gallery podcast, _**Here, Now**_ featured dialogues between curators and artists Carlos Bunga, Gary Hume, Nalani Malani and Edmund de Waal.
An Instagram Live broadcast to launch **Science Fiction** ( _Documents of Contemporary Art_ ). **Jane Scarth** interviewed the title’s editor **Dan Byrne-Smith** for a live Q&A on this dystopian and uncannily apposite genre as conceived by artists and writers.
Writer in Residence, **Rachel Pimm** presented online texts ‘Tessellation’ - documenting a performance/ lecture; and ‘Aggregation’ an imaginary tasting menu with a geological twist. These texts explore relations between the earth’s surface, the politics of extraction and our bodies.
With the postponement of his live dance piece ‘Materiality will be Re- thought’ choreographer **Joe Moran** , staged a Q&A on an online blog, alongside beautiful photographs from the dress rehearsal, giving audiences a teaser for a future performance within Carlos Bunga’s installation.
Artist and writer **Himali Singh Soin’s** began her year as Writer in Residence with monthly dispatches penned from lockdown in Delhi titled ‘ancestors of the blue moon’. Drawing on her research into the Himalayas and local animistic beliefs, ceremonies and remedies, the texts adopt the perspective of fictional, formless deities who 'flow through our contemporary timescape, recounting the world they witness’. A total of 13 dispatches will culminate in a
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post pandemic performance. The first sequence presented – three different Himalayan deities Jagar - a spirit of drums; Bla - an ‘invisible, ineffable vital essence that moves through your body’ and Yeshe Tso -gyal - the ‘wisdom lake qu een’.
A series co-presented with publishers Verso on contemporary feminism included a live online lecture by titan of gender theory **Judith Butler** in conversation with political philosopher **Amia Srinivasan** . Butler’s powerful reflections on the pandemic and the reckoning with racism prompted by the Black Lives Matter movement drew thousands of viewers from around the world.
An online conversation between the American academic **Breanne Fahs** and leading voice in British black feminism **Lola Olufemi** , considered the material culture and radical, creative potential of feminist manifestos from the 1960s to today.
**Maria Hlavajova** (Artistic Director of BAK, Utrecht) talked on how contemporary art can respond to the urgent political questions facing us today, institutional collaboration and care in the age of Covid-19.
Marking the launch of _**Health**_ ( _Documents of Contemporary Art_ ), editor **Bárbara Rodríguez Muñoz** was in conversation with artist **Khairani Barokka** ; the event also included prerecorded film contributions from artists **Patricia Dominguez** and **Pedro Neves Marques.** Contributors explored antiracist and anti-ableist strategies for inclusive practices based on care, compassion and education about health and disability justice.
A partnership with London Contemporary Music Festival in a mostly pre-recorded event brought together performances by vocalist **Elaine Mitchener** , poet **Christopher Kirubi** , composer **Oliver Leith** , electronic producer **Elvin Brandhi** and a special performance from the ruins of Pompei from Writer in Residence **Himali Singh Soin** .
Between lockdowns **Joe Moran** finally staged ‘ _Materiality Will Be Rethought’_ created in response to Carlos Bunga’s installation. His dance performance was captured on film and screened online, alongside a conversation between Moran and participating dancers.
A partnership with London Contemporary Music Festival in a mostly pre-recorded event brought together performances by vocalist **Elaine Mitchener** , poet **Christopher Kirubi** , composer **Oliver Leith** , electronic producer **Elvin Brandhi** and a special performance from the ruins of Pompei from Writer in Residence **Himali Singh Soin** .
Leading feminists **Ruth Wilson Gilmore** and **Vron Ware** joined the joint editors of ‘Revolutionary Feminisms’ **Brenna Bhandar** and **Rafeef Ziadah** . In this hugely popular
event, the four speakers discussed their visions for a feminist future based on transformations of the economy, social relations and political structures, as the final event in our series with Verso _Feminist Resistance: Strategies for the 21[st] Century_ .
## **Independent Cinema and Moving Image**
_Through the Bloody Mists of Time_ invited artist **Esther Leslie** to discuss with **Adam Kosoff** his essay films marking the anniversaries of British filmmaker **Humphrey Jennings** and **Walter Benjamin** .
Film-makers **Elisa Caldana** and **Diego Tonus** discussed their multi-dimensional project exploring the computergenerated rendering of the never-realised Berlin building _Topographie des Terrors_ , by Swiss architect Peter Zumthor.
**Christopher Kulendran Thomas** and his collaborator, curator **Annika Kuhlmann** , discussed their film _Being Human_ and how artists can utilise networked technologies – the event was screened in partnership with the Centre for the Study of the Networked Image at LSBU.
The **Jarman Award Weekend** returned online where audiences could access all the films nominated for the 2020 Awards for 48 hours. Two afternoon online events featured live and pre-recorded broadcasts from nominated artists: **Michelle Williams Gamaker, Hannah Quinlan & Rosie Hastings, Jenn Nkiru, Lariss Sansour, Project Art Works** and **Andrea Luka Zimmerman** . They decided to share the prize and all were declared winners on 24 November.
_**A Listening Eye: The Films of Mike Dibb**_ (b.1940, UK) presented a season of this multi-award winning documentary filmmaker.
Three events reflected on groups of films. _**The Play of Ideas**_ discussed the how film could present political, cultural and social theories and featured Mike Dibb and Yasmin Gunaratnam, co-editor of Feminist Review; _**The Arts of Improvisation**_ featured novelist Geoff Dyer considering Dibb’s interest in music; and _**Conversation Pieces**_ focused on Dibb’s relation with writers, reviewed by novelist and theorist Lisa Appignanesi. The season was widely acclaimed generating extensive press coverage and an international audience.
## **Publishing art and ideas**
Despite almost overwhelming obstacles with securing designers and printers during periods of lock down the Gallery was able to publish 2 important catalogues and to add a new title to the acclaimed Documents of Contemporary Art series. _Fifty Years of Art_ celebrated the evolution of the Hiscox Collection providing an invaluable
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survey of post war British and international art. _Kai Althoff Goes with Bernard Leach_ is both a catalogue and an artist’s book, including illuminating texts by children responding to the artist’s work. _Health_ edited by Barbara Rodriguez Munoz offered a timely anthology of writings by artists, theorists and philosophers.
- Newham schools participating in our programmes:
- Central Park Newham School
- Curwen Primary School
- Ellen Wilkinson Primary School
- Godwin Junior School
- North Beckton Primary School
- Plaistow Primary School
## **Learning and Engagement**
## **Families**
Digital resources were designed to support families in lockdown. These included:
- an activity sheet on Nalini Malani’s work developed by artist Jacob V Joyce
- _Performing the Home_ activities focused on bodies, movement and domestic objects. They were devised and presented by artists Jasmin Bhanji, Helen Davidson (also family curator), Martin O’Brien, Harold Offeh, Raju Rage & Nad Ma and SERAFINE1369
## **Schools & Teachers**
- Artist Sam Ayre delivered a series of virtual workshops exploring language, drawing and animation, inspired by the works of Nalini Malani, with primary schools from Newham, funded by Newham Council’s Cultural Enrichment Grants.
- Artist Jake Garfield completed a series of workshops with schools in Tower Hamlets, supported by ArtFund.
- Other activities included:
- Supporting Tower Hamlets Artist Teachers (THAT) network.
- Supporting schools in achieving the Arts Award (Discover and Explore).
- Hosting virtual heats of ARTiculation (with Roche Court Educational Trust).
- In partnership with A New Direction, developing the podcast ‘Bridging the Digit al Divide’ looking at how schools are delivering arts enrichment during the pandemic.
- Developing ‘Open Tours’ an online activity pack for visiting groups.
- Ranelagh Primary Stratford
- St Edward’s Catholic Primary School
- St Winifred’s Catholic Primary School
- Salisbury Primary School
## **Communities**
- The Communities programme focused on ‘ Voices that Matter: Women, Art, Collaboration’, a twoyear project funded by the Paul Hamlyn Foundation. The project had two main strands: _Postcards from the Diaspora_ , a series of online reading groups; and a Women’s Forum which included sessions developed with artists Hussina Raja and Kate Smith.
- Other activities have included the development of digital resources for community groups, research into how we support local organisations and charities in Tower Hamlets, and a series of community network blogposts.
- Community groups engaging with our programmes:
- Capital Arts
- City Gateway
- Claremont Project
- Crisis
- Headway East London
- Opening Doors
- Poetry in Wood
- Portugal Prints
- Positively UK
- Praxis
- Project Alchemy
- Providence Row
- Numbi
- The Outside Project,
- St Hilda’s Women’s Projects
- Women’s Environmental Network
- Tower Hamlets schools participating in our programmes:
- Clara Grant Primary School
- Cayley Primary School
- Langdon Park School
- London East Alternative Provision,
- Mulberry School for Girls
- St. Pauls Way Trust School,
- Southern Road Primary School
- Stepney All Saints School
- Thomas Buxton Primary School
## **Youth**
- Working with 15-24 year olds and led by our youth forum Duchamp & Sons, the youth programme has included:
- Digital Curating course, included training with leading curators and artists, culminating in the exhibition _Home: Live > In_ Room, selected by young people from the Hiscox collection
- a close collaboration with artist and film-maker Ayo Akingbade including talks, workshops, online
Whitechapel Gallery Annual Report 2021
**10**
discussions and visits focusing on community and place. This process led to a new commissioned film and the exhibition _A Glittering City: Ayo Akingbade with Duchamp & Sons,_ which opened in April 2021.
- Other youth-led activities have included podcasts, short films, social media takeovers, an online taster evening for new members, curators’ tours, a creative careers programme, workshops with Camberwell College of Arts, and research and planning for virtual studio visits.
## **Partnerships**
**Ballroom Marfa** , Texas, **Belgrade Cultural Centre** , **Bonniers Konsthall** , Stockholm, **CAC Vilnius** , **la Caixa Foundation** , Madrid, Film London, **GaMeC** , Bergamo, **Crawford Art Gallery** , Cork; **CCAA** , Kabul, **Hammer Museum** , Los Angeles, Hanoi **DOCLAB** , **Istanbul Modern** , **Museum of Modern Art** , Warsaw, **KWM Centre** Beijing, **MMAG Foundation** , Jordan; **Neuer Berliner Kunstverein** , **PAK** , Milan, **Para/Site** Hong Kong, **Pentagram** , London, **Fundacio PROA** , Buenos Aires, **Project 88** , Mumbai, **South African National Gallery** , **Tromso Kunstforening** , **Video-forum n.b.k.** , Berlin
## **Stakeholders**
With the support of statutory funders, Trusts and – Foundations, companies and individuals particularly artists – the Whitechapel Gallery was able to protect its staff and their jobs, to offer a lively and engaging online programme that reached audiences worldwide; and to deliver two full seasons of exhibitions, displays and commissions.
Marked by isolation, anxiety and mourning the year of Covid also forced social and cultural relations to be mediated by the digital screen. In those periods when the Whitechapel Gallery could open its doors we welcomed an audience hungry for the physical experience of art and eager for dialogue. Their passionate engagement proved a moving tribute to our efforts and to the central importance of art at a time of crisis.
## **Iwona Blazwick OBE, Director**
Whitechapel Gallery Annual Report 2021
**11**
## **Exhibitions**
Nb, the Gallery building was closed to the public from March to July 13[th] , 5[th] November to 3[rd] December and from 15[th] December 2020 to 19[th] May 2021 due to Covid-19 restrictions
## **Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)**
**Radical Figures: Painting in the New Millennium** 6 February 2020 - 30 August 2020
**Kai Althoff Goes With Bernard Leach** 7 October 2020 - 10 January 2021
## **Gallery 7**
**“la Caixa” Collection of Contemporary Art Selected by Veronica Gerber Biecci: In the Eye of Bambi** 14 January 2020 - 9 August 2020
**Accelerate Your Escape: Gary Hume explores the Hiscox Collection**
25 August 2020 - 3 January 2021
## **Gallery 2**
**Carlos Bunga: Something Necessary and Useful** 21 January 2020 - 13 September 2020
**Nalini Malani: Can You Hear Me?** 23 September 2020 - 6 June 2021
## **Pat Matthews Gallery (Gallery 4)**
**The Return of the Spirit in Painting** 5 February 2020 - 27 September 2020
**Exercising Freedom: Encounters with Art, Artists and**
**Communities** 7 October 2020 - 21 March 2021*
**Outset Project Gallery (Gallery 5); 176/Zabludowicz Collection**
**Project Gallery (Gallery 6)**
**Rachel Pimm: Plates** 14 January 2020 - 9 August 2020
**Home: Live > In Room** 25 August 2020 - 3 January 2021
## **Zilkha Au ditorium: Artists’ Film International**
**Dominika Olszowy, Lisa Tan, Ailbhe Ní Bhriain**
14 July 2020 - 16 August 2020
**Mohamed A. Gawad, Miguel Fernandez de Castro, Lerato Shadi, Amina Draybee**
18 August 2020 - 20 September 2020
**Evgeny Granilshchikov, Daisuke Kosugi** 22 September 2020 - 1 November 2020 **Raqs Media Collective,** 3 November 2020 - 20 December 2020
Whitechapel Gallery Annual Report 2021
**12**
**Publications**
Catalogues:
_**Nalini Malani: Can You Hear Me?**_ Published by Whitechapel Gallery 2020
_**Fifty Years of Art: The Hiscox Collection 1970 – 2020**_ Published by Whitechapel Gallery 2020
Documents of Contemporary Art Series:
**Documents of Contemporary Art:** _**Health**_ Edited by Bárbara Rodríguez Muñoz Published by Whitechapel Gallery and The MIT Press 2020
Whitechapel Gallery Annual Report 2021
**13**
## **Public Events, Education and Community Programmes Listing April 2020 - March 2021**
## **Talks and Symposia:**
Science Fiction Burn it Down! A Discussion on Feminist Manifestos Big Ideas: Judith Butler Big Ideas: Maria Hlavajova Big Ideas: Networked Curating
Health Revolutionary Feminisms Art Icon: Yinka Shonibare
## **Performance Events:**
Materiality will be Rethought London Contemporary Music Festival: Text Scores
## **Film Events:**
Through the Bloody Mists of Time Topography of Terror Film London Jarman Award Weekend 2020
Mike Dibb: The Play of Ideas Mike Dibb: The Arts of Improvisation Mike Dibb: Conversation Pieces
Whitechapel Gallery Annual Report 2021
**14**
## **Encouraging Attendance and Participation**
While footfall dramatically declined due to Whitechapel Gallery closure in response to Covid-19, online audiences were sustained, with notable growth in the fourth quarter. In 2020-21 Whitechapel Gallery welcomed **27,000** visitors **;** the website attracted **1,240,592** page views we reached **2,409,369** including social media channels.
|**Visits 1 April 2020– 31 March 2021**|
**Gallery**|**Website**
Page Views|**Social**
New Followers|
|---|---|---|---|
|Spring (1 April–30 June)
1 April–30 June
•
Whitechapel Gallery Closed due to Covid-19
1 April–30 June
•
Artists’ Film International Screening Online|**0**|**64,537**
**new users**
**(187,976)**|**Twitter: 267,233**
(-1001)
**Instagram:**
**242,000***
**Facebook:**
**128,791**
(-179)|
|Summer (1 July–30 September)
1–13 July
•
Whitechapel Gallery Closed due to Covid-19
1–13 July
•
Artists’ Film International Screening Online
13 July–30 September
•
Radical Figures: Painting in the New Millennium
•
Carlos Bunga: Something Necessary and Useful
•
In the Eye of Bambi: “la Caixa” Collection of Contemporary Art
Selected by Verónica Gerber Bicecci
•
Rachel Pimm: Plates
•
The Return of the Spirit in Painting
•
Artists’ Film International|**18,978**|**101,355**
**new users**
(367,177)|**Twitter: 267,394**
(+161)
**Instagram:**
**243,000***
**Facebook:**
**128,174**
(-32)|
|Autumn (1 October–31 December)
1 October–8 November
•
Kai Althoff Goes with Bernard Leach
•
Nalini Malani: Can You Hear Me?
•
Accelerate your escape: Gary Hume explores the Hiscox
Collection
•
Home: Live > In Room: Youth Forum selects from the Hiscox
Collection
•
Exercising Freedom: Encounters with Art, Artists and
Communities
•
Artists’ Film International
5 November–1 December
•
Whitechapel Gallery Closed due to Covid-19
•
The London Open Call for Entries Online
1–20 December
•
Kai Althoff Goes with Bernard Leach|**6,593**
**1,430**|**118,029**
**new users**
(447,454)|**Twitter: 267,945**
(+551)
**Instagram:**
**243,240***
**Facebook:**
**128,143**
(-31)|
Whitechapel Gallery Annual Report 2021
**15**
|•
Nalini Malani: Can You Hear Me?
•
Accelerate your escape: Gary Hume explores the Hiscox
Collection
•
Home: Live > In Room: Youth Forum selects from the Hiscox
Collection
•
Exercising Freedom: Encounters with Art, Artists and
Communities
•
Artists’ Film International
21–31 December
•
Whitechapel Gallery Closed due to Covid-19||||
|---|---|---|---|
|Winter (1 January–31 March)
•
Whitechapel Gallery Closed due to Covid-19|**0**|**78,611**
**new users**
(237,985)|**Twitter: 268,820**
(+875)
**Instagram:**
**243,593**
(+353)
**Facebook:**
**128,892**
(+749)
**Total newsletter**
**reach:**523,318
**Total YouTube**
**subscribers:**
4,154
(+436)|
## **Summary**
Whitechapel Gallery ceased to conduct visitor exit surveys in 2020-21 due to Covid-19 closures and to support necessary health and safety measures when open.
Focus switched to sustaining engagement with online audiences through screenings of films from our Artists’ Film Internationa l programme, filmed tours of exhibitions, a new online events programme and podcast series, plus The London Open 2022 call for entries which took place online in Autumn 2020.
Whitechapel Gallery Annual Report 2021
**16**
## **Development 2020/21**
A total of £3,746,129 of voluntary income was raised in the year.
The Whitechapel Gallery is a registered charity that relies on the philanthropic support of individuals, companies, charitable trusts and foundations, and statutory funders. The Gallery has active and growing circles of Patrons and Commissioning Council supporters, with annual contributions ranging from £500 to over £10,000 per annum. The Exhibitions Programme is supported by individual donors, international foundations, galleries and corporate sponsorship. The Whitechapel Gallery’s Education and Public Programmes are made possible through the generous support of a number of charitable trusts and foundations, individuals and companies.
Throughout the COVID-19 pandemic, regular income streams were significantly affected, though we were grateful for the continued support of many of our existing donors. However, we successfully received emergency funding from several new schemes, including the Culture Recovery Fund, Capital Group, The Clore Cultural Learning Fund, Bloomberg and the City Bridge Trust (the latter two through the London Community Response Fund). We were also successful at fundraising through our virtual Art Icon Gala and Auction, held in March 2021.
The Whitechapel Gallery has a professional fundraising department led by Janine Catalano, a member of the Institute of Fundraising. The team is responsible for fundraising from individuals, events, trust and foundations and businesses and works within the guidelines set out by the Fundraising Regulator and Code of Fundraising Practice. No fundraising-related complaints were received in the period.
The Whitechapel Gallery does not engage any external partners or fundraising agencies to carry out fundraising on its behalf, nor do we engage in fundraising activities that would place vulnerable people at risk.
## **Gallery Supporters 2020/21**
The Whitechapel Gallery would like to thank its supporters, whose generosity enables the Gallery to realize its pioneering programmes, including those who wish to remain anonymous:
## **Covid-19 Recovery Funds**
Bloomberg Philanthropies Capital Group City Bridge Trust Clore Cultural Learning Fund Culture Recovery Fund Heritage Stimulus Fund – Historic England London Community Response Fund The Worshipful Company of Grocers
## **Major Donors**
Sirine and Ahmad Abu Ghazaleh Asymmetry Art Foundation Bloomberg Philanthropies Collezione Maramotti D. Daskalopoulos Max Mara NEON Swarovski Foundation Michael and Nina Zilkha
## **Exhibitions Programme**
Institut für Auslandsbeziehungen Gladstone Gallery Oliver Haarmann Marguerite Steed Hoffman Amrita Jhaveri Lietta & Dakis Joannou The Klimt Charitable Trust Garlerie Neu, Berlin Idan & Batia Ofer Ellen and Michael Ringier Emmanuel Roman Marco Rossi
Alan Schwartzman Beth Swofford TRAMPS, New York and London Volte Art Projects Michael Werner Gallery The Whitechapel Gallery Commissioning Council
## **Education & Public Events Programme**
Aldgate Connects BID Art Fund The Arts Society Westminster Dorota & Olivier Audemars The Bawden Fund Capital Group Paul Hamlyn Foundation Mayor of London Newham Council Enrichment Programme Phillips ZVM Rangoonwala Foundation Dasha Shenkman Stanley Picker Trust Swarovski Foundation The London Borough of Tower Hamlets The Worshipeful Company of Grocers
Whitechapel Gallery Annual Report 2021
**17**
## **Whitechapel Gallery Corporate**
## **Patrons**
Bloomberg Frasers Property UK Gazelli Art House Luxembourg + Co Modern Art Phillips Simon Lee Gallery David Zwirner
## **Whitechapel Gallery Corporate**
## **Supporters**
The Aldgate Partnership Bistrotheque Bloomberg Philanthropies Champagne Castelnau FRAME London Hiscox: Artworks Insurance Partner Martinspeed Max Mara Collezione Maramotti Omni Colour: Signage Partner Phillips Swarovski
## **Future Fund Founding Partners**
Mahera and Mohammad Abu Ghazaleh
Sirine and Ahmad Abu Ghazaleh Swantje Conrad Mr Dimitris Daskalopoulos NEON Maryam and Edward Eisler V-A-C Foundation
Sir Siegmund Warburg’s Voluntary Settlement Arts Council England Catalyst Endowment Fund
## **Whitechapel Gallery Commissioning**
## **Council**
Dorota Audemars Erin Bell Leili Huth Irene Panagopoulos Catherine Petitgas Mariela Pissioti Alex Sainsbury
and those who wish to remain anonymous
Frank Kirkhaar George Loudon Xi Liu and Yi Luo Kate McGarry Mary E McNicholas Jon and Amanda Moore Heike Moras Maureen Paley Dominic Palfreyman Darryl de Prez and Victoria Thomas Steve Ruggi and Gilda Williams
**Whitechapel Gallery Patron’s Chair** Francis Outred
## **Whitechapel Gallery Global Circle**
Elie Khouri Art Foundation and those who wish to remain anonymous
## **Whitechapel Gallery Director’s Circle**
Marina Ruiz-Colomer
Mohammed Al Baker Erin Bell and Michael Cohen Nick and Caroline Clarry Pilar Corrias Aud and Paolo Cuniberti Taymour Grahne Peter and Maria Kellner Yana and Stephen Peel and those who wish to remain anonymous
Alex Sainsbury and Elinor Jansz Cherrill and Ian Scheer Henrietta Shields Matthew Slotover and Emily King Karen and Mark Smith Bina and Philippe von Stauffenberg Marie-Claude Stobert Christoph and Marion Trestle Samantha Wainstein
Yusi Xiong Lian Zhang Sharon Zhu and those who wish to remain anonymous
## **Whitechap el Gallery Curator’s Circle**
Rob and Lesley Briggs Mark Harris Marcelle Joseph Adrian and Jennifer O’Carroll Dasha Shenkman Audrey Wallrock and those who wish to remain anonymous
## **Whitechapel Gallery First Futures**
Cedric Bardawil Francesca Consigli Crane Kalman Gallery Jason Kantro Marie Krauss Petra Kwan Yisi Li Di Liu Di Luo Supriya Menon Victoria Mikhelson Jacqueline Nowikovsky Indi Oliver Katherine Proudlove Maria Cruz Rashidan Eugenio Re Rebaudengo Tammy Smulders Joe Start Nayrouz Tatanaki Olga van Vuuren
## **Whitechapel Gallery Patrons**
Beverley Buckingham Sadie Coles HQ Beth and Michele Colocci Swantje Conrad Michael and Elizabeth Corley Dunnett Craven Ltd Sarah Elson Belinda de Gaudemar Alan and Joanna Gemes Richard and Judith Greer Sarah Griffin Deborah Gundle Jill Hackel Robert Hiscox Rami Kim
Whitechapel Gallery Annual Report 2021
**18**
Vanessa Vainio Elisabeth von Schwarzkopf and those who wish to remain anonymous
We remain grateful for the ongoing support of Whitechapel Gallery Members.
The Whitechapel Gallery is proud to be a National Portfolio Organisation of Arts Council England
Whitechapel Gallery Annual Report 2021
**19**
## D) Plans for Future Periods
## Aims and Objectives for 2021-22
## **Programme**
The programme will continue to reflect artistic development from around the world while also supporting local artists at all stages of their careers. In order to stabilise funding and build reserves, activities have been streamlined into three seasons of exhibitions, commissions, displays and performances; and screenings, talks, tours and workshops. While earned income has been increased by adding additional paying exhibitions to the portfolio, year-round free admission to a wide range of programmes remains central to our mission. The generosity and trust of artists has resulted in an exciting portfolio of limited editions or in auction donations that will make important contributions to both earned and raised income.
Longer seasons have enhanced our ability to plan ahead in terms of research and funding. With three seasons per year we have been able to marshal resources so as to invest in the quality of our displays; in creating substantial publications that contribute to new learning while also being commercial; and in our communications strategies which are resulting in ever growing attendance. Our education and outreach programmes will continue to build on experimental strategies of engagement facilitated by partnerships with foundations dedicated to innovation. We also share experience and expertise with peers around the world through professional development courses which are set to expand.
## **Audience Development**
The high profile media and marketing campaigns attached to our paying exhibitions have increased footfall across all our activities which in turn raises earned income. Additional investment and the evolution of creative digital strategies have led to a surge in social media engagement world-wide. A key has been an emphasis on content that draws on the Whitechapel Gallery’s deep engagement with artists and creative thinkers across cultural disciplines. The next period will build on balancing intellectual integrity and creativity with achieving a wider regional and global reach; and in touching unengaged constituencies.
## **Sustainability**
The Whitechapel Gallery’s Business Plan is structured to maximise potential across a range of income streams so as to enable the Whitechapel Gallery to build reserves and steward its endowment funds. At the same time the operations team are dedicated to lowering energy consumption so also contributing to the long term financial and environmental sustainability of the organisation. There is a growing challenge however with maintaining the fabric and upgrading the facilities of two historic buildings. Staff retention will also be a priority in the face of growing global competition for professional expertise.
## **Pandemic Impact**
The advent of the Covid-19 pandemic at the end of the 2019-20 period has had a major impact on all our planning. Following Government guidelines the gallery closed to the public on March 18[th] 2020 and successfully reopened on 14[th] July, with the final season exhibitions still in place. It closed again between 5[th] November and 2[nd] December 2020, and from 16[th] December 2020 to 19[th] May 2021. During these closure periods the programme was revised and rescheduled whilst as much content as possible was put online, particularly the Artists Film International programme. From May 19[th] 2021 the Gallery has seen a very positive response from audiences, with ticket income exceeding targets. Looking to the future, audience trends will be closely monitored as the public and social impact of the pandemic continues to evolve.
Whitechapel Gallery Annual Report 2021
**20**
## **Programme Plans 2021-22**
Nb, the Gallery building was closed to the public from 15[th] December 2020 to 19[th] May 2021 due to Covid-19 restrictions
## **Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)**
**Eileen Agar: Angel of Anarchy** 19 May 2021 - 29 August 2021
**Theaster Gates: A Clay Sermon** 29 September 2021 - 9 January 2022 **A Century of T he Artist’s Studio** 16 February 2022 - 19 June 2022
## **Gallery 7**
**Desde el Salon (From The Living Room): Sol Calero selects from The Hiscox Collection** 19 May 2021 - 15 August 2021
**This Is The Night Mail: Ida Ekblad selects from The Christian Sveaas Art Foundation Collection** 28 August 2021 - 2 January 2022
**Paulina Olowska selects from The Christian Sveaas Art Foundation Collection** 12 January 2022 - 8 May 2022
## **Gallery 2**
**Nalini Malani: Can You Hear Me?** 23 September 2020 - 5 September 2021
**Simone Fattal: Finding A Way** 21 September 2021 - 19 June 2022
## **Zilkha Auditorium: Artists’ Film International**
**Sena Başöz; Wojciech Dada/Katarzyna Górna/Rafał Jakubowicz; Agnė Jokšė; Neda Kovinić; Claire Langan; Victoria Verseau; Rehana Zaman**
17 May 2021 - 6 June 2021
## **Pat Matthews Gallery (Gallery 4)**
**Phantoms of Surrealism** 19 May 2021 - 12 December 2021
**The Commercial Gallery** 21 December 2021 - August 2022
## **Outset Project Gallery (Gallery 5); 176/Zabludowicz Collection Project Gallery (Gallery 6)**
**Kerstin Honeit; Julia Sbriller /Joaquín Wall; Giulio Squillacciotti**
7 June 2021 - 1 August 2021 **Patty Chang, Mihaly Stefanovicz, Kenneth Tam** 3 August 2021 - 26 September 2021
**Kiri Dalena; Hylozoic/Desires (Himali Singh Soin and David Soin Tappeser); Polina Kamis; Thania Petersen and Sajia Sediqi**
28 September 2021 - 9 January 2022
## **Ayo Akingbade with Duchamp & Sons: A Glittering City**
19 May 2021 - 15 August 2021
**Yoyko Ono: MEND PIECE for London** 25 August 2021 - 2 January 2022
**The Education Studio**
12 January 2022 - 8 May 2022
Whitechapel Gallery Annual Report 2021
**21**
## E) Financial Report for the Year / Trustee s’ Responsibilities
## **Results for the Year**
Overall the Gallery received income of £4,884,718 and incurred expenditure of £3,937,868 on total funds, resulting in a surplus of £1,403,766 after investment gains (2019-20: deficit of (£692,165)). The surplus was a consequence of fundraising successes, strong investment performance and cost savings and subsidies achieved as a result of the pandemic. There was a net movement on general unrestricted funds of £1,144,581 in 2020-21 (2019-20: (£241,756)). The balance sheet shows an increase in net current assets of £2,469,528 to £2,479,919 (2019-20: £10,391) as a result of net income and also the release of £805,617 from the Catalyst endowment to address historic debt. £230,000 was transferred to the general fund in the year from the unapplied total return from endowment funds (£47,327 in 2019-20) and £365,673 transferred to designated funds. The transfers resulted in £1,144,581, in the General fund being carried forward at the year-end (2019-20: £0).
- Work done by school children or students or by persons resident in the neighbourhood of the art; and to promote and encourage the education of the public in the arts.
The investment in the subsidiary company is also held by Whitechapel Gallery Trustee on behalf of Whitechapel Gallery. The subsidiary reported a surplus for the year ended 31 March 2021 amounting to £2,947 and total funds carried forward of £28,102.
## **Reserves Policy**
The total value of consolidated funds at the balance sheet date was £18,198,180, made up of £3,941,260 in endowed funds, £7,212,401 in restricted funds, £5,899,938 in designated funds and £1,144,581 in unrestricted general funds.
## Endowment Funds
## **Subsidiary Companies**
Whitechapel Gallery Ventures Limited was incorporated on 1 April 2005 as a private limited company, wholly owned by Whitechapel Gallery Trustee Limited on behalf of Whitechapel Gallery.
Whitechapel Gallery Ventures Limited was established to manage the commercial trading activities of Whitechapel Gallery including sales of limited editions, Gallery hires, catalogues, publications, merchandise and catering services. The main aims of the trading subsidiary are to engender the development of entrepreneurial practice at the Whitechapel Gallery and generate profits that contribute to the Gallery’s charitable objectives.
Editions and publication sales proved once again to be the strongest income streams, with good commercial performance in all other areas. The directors of Whitechapel Gallery Ventures Limited are pleased to report a current year profit of £95,358 as at 31 March 2021. This consisted of operating profits of £11,439 and £83,919 of Museums and Galleries Exhibition Tax Relief. These profits have been donated to the charity via Gift Aid.
Whitechapel Gallery Estates Trust Limited is a company limited by guarantee and charity registered in England & Wales. Its principal activities are the provision and maintenance of an art gallery for exhibition to the public of: - Modern and Historical fine art
The Gallery has two permanent endowment funds, held in investment portfolios managed by JP Morgan and the returns they generate form unrestricted income for the Gallery. Following a major reduction in value for all investment portfolios in February and March 2020 as a result of the impact of the Covid-19 pandemic on global markets, the year to March 2021 saw sustained growth.
The _Transform Future Fund_ is a permanent endowment fund of £2.7m granted by Arts Council England in 2011, and operated on a total return basis. £450k of the capital was drawn down in 2016 to be repaid in equal instalments over the following ten years. At 31 March 2021 the fund had a value of £2,481,796 (31 March 2020: £2,320,880) and generated £390,916 (2019-20: £0) in investment gains for the Gallery in the year. The _Catalyst Future Fund_ is a separate fund consisting of monies raised by the Whitechapel Gallery and matched by Arts Council England. This is a permanent endowment expiring in November 2037, following which the endowment becomes expendable. This fund had a value of £1,459,464 as at 31 March 2021 (2019-20: £1,459,264) and yielded £0 (2019-20: £47,327) in income for the Gallery in the year. In July 2020 the Gallery obtained permission from Arts Council England and the Charity Commission to de-restrict and draw down the 50% of this fund that they had initially raised, a total of £805,617, in order to address historic debts and the impact of the Covid-19 pandemic. The remaining funds were held in cash pending reinvestment.
- Modern and Historical design and applied art
Whitechapel Gallery Annual Report 2021
**22**
## Restricted Funds
The _Capital Fund_ comprises funds received for the Whitechapel Project for refurbishment work undertaken on the Gallery’s buildings. Th e fund value was £6,636,333 at 31 March 2021 (2019-20: £6,878,415), which has all been invested in fixed assets. The _Capital Renewal Fund_ is restricted to the maintenance of the Gallery’s current buildings and infrastructure in an agreed drawdown schedule to 2031. At 31 March 2021 the fund had a value of £576,068 (2019-20: £526,009), comprising investments of £368,978 managed by JP Morgan, £100,000 held in cash at Lloyds bank, and fixed assets of £107,091. In the year it funded £15,742 in capital depreciation.
## Designated Funds
The _Building Fund_ represents money invested in building works not covered by the restricted Capital Fund. The fund value was £5,465,375 at 31 March 2021 (2019-20: £5,549,845 (restated)) following transfers from the unrestricted General fund. The balance is all invested in fixed assets. The _Designated Programme Fund_ holds income designated to Programme activities. At 31st March 2021 the fund had a value of £0 (2019-20: £60,000) following the release of funds raised in advance. Three new designated funds have been set up in the period. The _Designated Capital Works Fund_ holds amounts designated towards urgent capital works that aren’t covered by the restricted Capital Renewal fund, to a value of £401,000 at 31[st] March 2021. The _Designated Roof Repair Fund_ holds funds received to offset the cost of urgent roof repairs, to a value of £18,563 at 31[st] March 2021. The _Designated General Fund_ holds funds to invest in a new customer relationship management system that was delayed from 2020-21, to a value of £15,000 at 31[st] March 2021.
## Unrestricted Funds
The _General Fund_ , net of tangible fixed assets, represents the free reserves of the Charity and is an unrestricted reserve maintained to enable the Gallery to carry on its charitable activities. The Trustees aim to hold an unrestricted fund balance equivalent to at least one quarter of annual expenditure on Charitable Activities and Governance Costs which would be equal to £736,230 in 2020-21. Net of tangible fixed assets of £21,980 there were £1,122,601 free reserves at the year-end (2019: tangible fixed assets of £19,440, free reserves £0). A successful bid to the ACE Culture Recovery Fund resulted in £534,000 in unrestricted funds being granted to form an operating reserve being secured in October 2020, of which 90% had been received by 31[st] March 2021. The General Fund will be used to subsidise the 2021-22 financial year, which due to the programme changes is projected to result in a deficit.
## **Investment Policy & Returns**
An executive sub-committee has been established to oversee the investment of the endowments and Capital Renewal Fund, and advise the Director and Managing Director in researching new, more effective ways for the charity to invest. The Trustees’ policy is to balance the ne ed for revenue and the growth of the equity of the invested funds. An Order from the Charity Commission giving the charity the power to use a total return approach to investment of the Transform Future Fund was obtained in April 2012.
JP Morgan Ltd. was appointed as investment advisor and fund manager in 2011 following a tender process. The Transform Future Fund and Catalyst Future Fund endowments and the Capital Renewal Fund have been placed in managed funds. The Investment Subcommittee has been charged with reviewing the performance of funds and investment risk profile.
The Trustees will review annually the level of risk most appropriate for the gallery given the prevailing state of the economic and political environment, which will inform the mix of investment portfolio. The Investment sub-committee will keep an ongoing overview of investment performance and, with the investment advisors, make adjustments to investment asset allocation as needed.
In line with the Total Return approach applied to the investment of the Transform Future Fund endowment, the Trustees will annually decide on the portion of the fund’s returns to draw for general revenue expenditure by the Gallery. Maintaining the core capital endowment and ensuring its long-term growth will be key factors considered in the draw-down decision.
Drawdown from the Capital Renewal Fund is restricted to the maintenance of the Gallery’s current buildings and infrastructure and used according to an agreed schedule of works.
Over the course of the year the trustees continually reviewed the overall investment performance against both the Whitechapel’s investment objectives and the wider sector benchmarks since inception. The conclusion was that the performance of investments in 2020-21 was reflective of overall market factors, and in the longer-term the portfolios were providing a satisfactory return and they were happy with JP Morgan’s management of the funds.
The advent of the Covid-19 pandemic resulted in major reductions in the value of all portfolios for a short period, following which markets recovered relatively quickly. Trustees moved to liquidate one portfolio into cash to prevent escalating losses, with the intention of re-investing at a later date.
Whitechapel Gallery Annual Report 2021
**23**
Any available unrestricted reserves are held in cash which is deposited to secure the best possible returns in short-term cash investments.
## **Going Concern**
- Achievement of general and project-specific fundraising targets
- Achievement of earned income targets relating to exhibition admissions and general trading activities
- Investment performance
- Cost control
In assessing the charity’s financial position, the Trustees have considered its plans for the foreseeable future, the risks to which it is exposed and detailed cash projections. In line with many charities the forecast voluntary income is dependent upon continuing support of the patrons and members of the gallery and Arts Council funding which is expected to continue at least at present levels for the foreseeable future, but is not guaranteed.
Following detailed discussions with Arts Council England, in March 2020 the Gallery agreed a forward financial strategy to address historic deficits and stabilise the operating model going forward, through a combination of endowment fund redeployment, the securing of major philanthropic gifts and a thorough review of the organisation’s business model. Following receipt of the requisite funder and Charity Commission approvals, these initiatives have provided a financially stable base from which to move forward.
The impact of the Covid-19 pandemic on the organisation’s operations has been significant, with an enforced fourmonth closure of the building from 18[th] March 2020, from 5[th] November to 3[rd] December, and from 16[th] December 2020 to 17[th] May 2021. Following extensive scenario planning, measures have been taken in response to this in order to stabilise the Gallery’s financial position. T he exhibitions and public events programmes were revised both in the building and online with the effect of reducing overall costs. All available emergency funding schemes have been utilised and expenditure budgets reduced in all other areas of the organisation, from communications to overheads. The result of all these initiatives is a very positive outturn for 2020-21 that mitigates many of the more severe impacts of the pandemic. However the cost of the programme changes will have a material effect on the 2021-22 financial year, which will be mitigated through strategic use of reserves and emergency funding initiatives.
Following these detailed assessments, the trustees continue to be satisfied that they will have sufficient funds to meet operational needs for at least 18 months from the date of signing and accordingly it continues to remain appropriate to prepare the financial statements on the going concern basis.
## **Risk Management**
The Trustees have assessed the major risks to which the charity is exposed, in particular those relating to the specific operational areas of the charity, its investments and its finances. The principal risks include:
- From March 2020, the Covid-19 pandemic
The impact of the pandemic on all principal risks has been significant and has focussed the risk management process on devising mitigation strategies in response, as outlined above.
The Trustees believe that they have established effective systems to mitigate these specific risks by regular examination of financial performance and other key indicators to identify any necessary corrective action, and by ensuring that robust controls exist over key financial and other systems. The strategic risk register is reviewed annually by the Board of Trustees and quarterly by the Finance Sub Committee.
The Gallery’s application for ‘Approval under Part 6, Section 136 of the Tribunals, Courts and Enf orcement Act 2007’ was granted by the Secretary of State on 21 June 2010. Approved status allows for ‘immunity from seizure for cultural objects which have been imported into the UK for the purpose of exhibition’ provided that recognised due diligence procedures and provenance checks have been carried out. During 2020-21, the Gallery did not display any objects which required immunity from seizure.
## **STATEMENT OF TRUSTEES’ RESPONSIBILITIES**
The trustees are responsible for preparing the Trustees’ Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
The law applicable to charities in England and Wales requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity and group and of the incoming resources and application of resources, including the income and expenditure, of the charity and the group 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;
- Make judgements 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;
Whitechapel Gallery Annual Report 2021
**24**
- Prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business.
reasonable steps for the prevention and detection of fraud and other irregularities.
In so far as we are aware:
The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time of the financial position of the charity and group and enable them to ensure that the financial statements comply with the Charities Act 2011, the Charities Accounts and Reports Regulations 2008 and the provisions of the charity’s constitution. They are also responsible for safeguarding the assets of the charity and group and hence for taking
- There is no relevant audit information of which the charity and group’s auditor is unaware; and
- The trustees have taken all steps that they ought to have taken to make themselves aware of any relevant audit information and to establish that the auditor is aware of that information
## **AUDITORS**
- A resolution proposing the reappointment of Crowe U.K. LLP as auditors to the charity will be put to the Annual General Meeting.
By Order Of The Board
10 December 2021
……………………………………………………….
Alex Sainsbury (Chair)
Whitechapel Gallery Annual Report 2021
**25**
## Independent Auditor ’s Report to the Members of the Whitechapel Gallery
## **Opinion**
We have audited the financial statements of Whitechapel Gallery (‘the charity’) and its subsidiaries (‘the group’) for the year ended 31 March 2021 which comprise the Consolidated Statement of Financial Activities, the Group and Charity Balance Sheets, the Consolidated Statement of Cash Flows 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 parent charity ’s affairs as at 31 March 2021 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 Charities Act 2011.
## **Basis for opinion**
significant doubt on the charity'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.
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.
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 responsib ilities 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.
## **Conclusions relating to going concern**
In auditing the financial statements, we have concluded that the trustee's use of the going concern basis of accounting in the preparation of the financial statements is appropriate.
## **Matters on which we are required to report by exception**
We have nothing to report in respect of the following matters in relation to which the Charities (Accounts and Reports) Regulations 2008 requires us to report to you if, in our opinion:
- the information given in the financial statements is inconsistent in any material respect with the trustees’ report; or
- sufficient and proper accounting records have not been kept by the parent charity; or
- the financial statements are not in agreement with the accounting records and returns; or
- we have not received all the information and explanations we require for our audit.
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
Whitechapel Gallery Annual Report 2021
**26**
## **Responsibilities of trustees**
As explained more fully in the trustees’ responsibilities statement set out on page 24, the trustees 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 group and the parent charity’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 charity or to cease operations, or have no realistic alternative but to do so.
## **Auditor’s responsibilities for the audit of the financial statements**
We have been appointed as auditor under section 151 of the Charities Act 2011 and report in accordance with the Acts and relevant regulations made or having effect thereunder.
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 noncompliance 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 charity 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 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 charity’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 charity and the group for fraud. The laws and regulations we considered in this context for the UK operations were General Data Protection Regulation (GDPR), Health and safety 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.
Whitechapel Gallery Annual Report 2021
**27**
## **Use of our report**
This report is made solely to the charity’s trustees, as a body, in accordance with Part 4 of the Charities (Accounts and Reports) Regulations 2008. Our audit work has been undertaken so that we might state to the charity’s trustees 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 charity and the charity’s trustees as a body, for our audit work, for this report, or for the opinions we have formed.
## **Crowe U.K. LLP**
Statutory Auditor
## **London**
Date ……………………………15 December 2021
Crowe U.K. LLP is eligible for appointment as auditor of the charity by virtue of its eligibility for appointment as auditor of a company under section 1212 of the Companies Act 2006.
Whitechapel Gallery Annual Report 2021
**28**
## **WHITECHAPEL GALLERY CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31 MARCH 2021**
|**Unrestricted Funds**
**Note**
**General**
**Designated**
**£**
**£**
**Income and endowments from:**
Donations
and legacies
**3**
3,649,025
18,563
Charitable activities:
Exhibitions
313,395
-
Education
3,045
-
Other:
Trading activities
361,117
-
Investments
23
-
**Total**
**4,326,605**
**18,563**
**Expenditure on:**
Raising funds**4**
592,315
-
Charitable activities:
Exhibitions
1,675,665
94,143
Education
367,486
-
Other:
Trading activities
384,322
-
Investment
management costs
26,564
-
**Total**
**3,046,352**
**94,143**
Net gains/(losses) on
investments
**-**
**-**
**Net income /**
**(expenditure)**
**1,280,253**
**(75,580)**
Transfer
between
funds
**16**
(135,672)
365,672
**NET MOVEMENT IN**
**FUNDS**
**1,144,581**
**290,092**
Funds brought
forward (restated)
As at 1 April 2020
-
5,609,846
**Funds carried**
**forward**
**as at 31 March 2021**
**1,144,581**
**5,899,938**|**Unrestricted Funds**
**Note**
**General**
**Designated**
**£**
**£**
**Income and endowments from:**
Donations
and legacies
**3**
3,649,025
18,563
Charitable activities:
Exhibitions
313,395
-
Education
3,045
-
Other:
Trading activities
361,117
-
Investments
23
-
**Total**
**4,326,605**
**18,563**
**Expenditure on:**
Raising funds**4**
592,315
-
Charitable activities:
Exhibitions
1,675,665
94,143
Education
367,486
-
Other:
Trading activities
384,322
-
Investment
management costs
26,564
-
**Total**
**3,046,352**
**94,143**
Net gains/(losses) on
investments
**-**
**-**
**Net income /**
**(expenditure)**
**1,280,253**
**(75,580)**
Transfer
between
funds
**16**
(135,672)
365,672
**NET MOVEMENT IN**
**FUNDS**
**1,144,581**
**290,092**
Funds brought
forward (restated)
As at 1 April 2020
-
5,609,846
**Funds carried**
**forward**
**as at 31 March 2021**
**1,144,581**
**5,899,938**|**Unrestricted Funds**
**Note**
**General**
**Designated**
**£**
**£**
**Income and endowments from:**
Donations
and legacies
**3**
3,649,025
18,563
Charitable activities:
Exhibitions
313,395
-
Education
3,045
-
Other:
Trading activities
361,117
-
Investments
23
-
**Total**
**4,326,605**
**18,563**
**Expenditure on:**
Raising funds**4**
592,315
-
Charitable activities:
Exhibitions
1,675,665
94,143
Education
367,486
-
Other:
Trading activities
384,322
-
Investment
management costs
26,564
-
**Total**
**3,046,352**
**94,143**
Net gains/(losses) on
investments
**-**
**-**
**Net income /**
**(expenditure)**
**1,280,253**
**(75,580)**
Transfer
between
funds
**16**
(135,672)
365,672
**NET MOVEMENT IN**
**FUNDS**
**1,144,581**
**290,092**
Funds brought
forward (restated)
As at 1 April 2020
-
5,609,846
**Funds carried**
**forward**
**as at 31 March 2021**
**1,144,581**
**5,899,938**|**Restricted Funds**
**Endowment**
**2021**
2020
**Revenue**
**Capital**
**Funds**
**Total**
Total
**£**
**£**
**£**
**£**
£
539,549
-
-
**4,207,137**
3,156,806
-
-
-
**313,395**
487,677
-
-
-
**3,045**
22,978
-
-
-
**361,117**
524,213
-
-
-
**23**
47,327|**Restricted Funds**
**Endowment**
**2021**
2020
**Revenue**
**Capital**
**Funds**
**Total**
Total
**£**
**£**
**£**
**£**
£
539,549
-
-
**4,207,137**
3,156,806
-
-
-
**313,395**
487,677
-
-
-
**3,045**
22,978
-
-
-
**361,117**
524,213
-
-
-
**23**
47,327|**Restricted Funds**
**Endowment**
**2021**
2020
**Revenue**
**Capital**
**Funds**
**Total**
Total
**£**
**£**
**£**
**£**
£
539,549
-
-
**4,207,137**
3,156,806
-
-
-
**313,395**
487,677
-
-
-
**3,045**
22,978
-
-
-
**361,117**
524,213
-
-
-
**23**
47,327|
|---|---|---|---|---|---|
||**4,326,605**|**18,563**|**539,549**|**-**|**-**
**4,884,717**
4,239,001|
||592,315
1,675,665
367,486
384,322
26,564|-
94,143
-
-
-|-
-
430,787
257,823
108,763
-
-
-
-
-||-
**592,315**
647,610
-
**2,458,418**
3,059,553
-
**476,249**
581,138
-
**384,322**
428,597
-
**26,564**
41,812|
||**3,046,352**|**94,143**|**539,550**
**257,823**||**-**
**3,937,868**
4,758,710|
||**-**
**1,280,253**
(135,672)|**-**
**(75,580)**
365,672|**-**
**65,800**
**391,116**
**456,917**
(172,456)
**-**
**(192,023)**
**391,116**
**1,403,766**
(692,165)
-
-
(230,000)
-
-|||
||**1,144,581**
-
**1,144,581**|**290,092**
5,609,846
**5,899,938**|**-**
**(192,023)**
**161,116**
**1,403,766**
(692,165)
-
7,404,424
3,780,144
16,794,414
17,486,579
**-**
**7,212,401**
**3,941,260**
**18,198,180**
16,794,414|||
|||||||
All amounts relate to continuing operations. All gains and losses recognised in the year are included above. The notes on pages 33 to 49 form part of these financial statements.
Whitechapel Gallery Annual Report 2021
**29**
## **WHITECHAPEL GALLERY CONSOLIDATED BALANCE SHEET AS AT 31 MARCH 2021**
|**Notes**
**FIXED ASSETS**
Tangible Assets
**11**
Investments
**9**
**CURRENT ASSETS**
Investments
**12**
Stock
**13**
Debtors
**14**
Cash at bank and in hand
**CURRENT LIABILITIES**
Creditors: amounts falling
due within one year
**15**
**NET CURRENT ASSETS**
**NET ASSETS**
**The funds of the charity:**
**Endowment Funds:**
**16**
Transform Future Fund
Catalyst Future Fund
**Restricted Funds:**
**16**
Restricted Capital Fund
Restricted Capital Renewal Fund
**Designated Funds:**
**16**
Building Fund
Capital Works Fund
Roof Repair Fund
General Fund
Designated Programme Fund
**Unrestricted Funds:**
**16**
General Fund||**£**
132,334
296,212
1,504,153
982,333
**2,915,032**
**(435,113)**
2,481,796
1,459,464|**31 March 2021**
**£**
12,230,780
3,487,481
**15,718,261**
**2,479,919**
**18,198,180**
**3,941,260**
**7,212,401**
**5,899,938**
**1,144,581**
**18,198,180**|£
156,203
314,767
874,308
157,257
**1,502,535**
**(1,492,144)**
2,320,880
1,459,264
6,878,414
526,010
5,549,846
60,000|31 March 2020|31 March 2020|
|---|---|---|---|---|---|---|
|||||||(restated)
£
12,570,533
4,213,490|
|||||||**16,784,023**
**10,391**|
||||||||
|||||||**16,794,414**|
|||||||**3,780,144**
**7,404,424**
**5,609,846**
**-**|
|||6,636,333
576,068|||||
|||5,465,375
401,000
18,563
15,000
-|||||
||||||||
|||||||**16,794,414**|
The notes on pages 33 to 49 form part of these financial statements. Approved and authorised for issue by the Trustees on 10 December 2021 and signed below on its behalf by:
……………..………… Alex Sainsbury - Chairman ……………..………. Anupam Ganguli - Trustee
Whitechapel Gallery Annual Report 2021
**30**
## **WHITECHAPEL GALLERY CHARITY BALANCE SHEET AS AT 31 MARCH 2021**
|**Notes**
**FIXED ASSETS**
Tangible Assets
**11**
Investments
**9**
**CURRENT ASSETS**
Investments
**12**
Stock
**13**
Debtors
**14**
Cash at bank and in hand
**CURRENT LIABILITIES**
Creditors: amounts falling
due within one year
**15**
**NET CURRENT ASSETS / (LIABILITIES)**
**NET ASSETS**
**Financed by:**
**Endowment Funds:**
**16**
Transform Future Fund
Catalyst Future Fund
**Restricted Funds:**
**16**
Restricted Capital Fund
Restricted Capital Renewal Fund
**Designated Funds:**
**16**
Building Fund
Capital Works Fund
Roof Repair Fund
General Fund
Designated Programme Fund
**Unrestricted Funds:**
**15**
General Fund|**£**
132,334
44,890
1,738,680
952,273
**2,868,177**
**(416,361)**
2,481,796
1,459,464
6,636,333
576,068|**31 March 2021**
**£**
12,230,780
3,487,481
**15,718,261**
**2,451,816**
**18,170,077**
**3,941,260**
**7,212,401**
**5,899,938**
**1,116,478**
**18,170,077**|£
156,203
44,890
1,073,447
130,242
**1,404,782**
**(1,419,546)**
2,320,880
1,459,264
6,878,414
526,010|31 March 2020
(restated)
£
12,570,533
4,213,490
**16,784,023**
**16,769,259**
**3,780,144**
**7,404,424**
**(14,764)**|31 March 2020
(restated)
£
12,570,533
4,213,490
**16,784,023**
**16,769,259**
**3,780,144**
**7,404,424**
**(14,764)**|
|---|---|---|---|---|---|
|||||||
||||||**16,784,023**
**16,769,259**
**(14,764)**|
||||||**3,780,144**
**7,404,424**|
|||||||
||5,465,375
401,000
18,563
15,000
-||5,549,846
60,000|||
||||||**5,609,846**
**(25,155)**|
||||||**16,769,259**|
The notes on pages 33 to 49 form part of these financial statements. Approved and authorised for issue by the Trustees on 10 December 2021 and signed below on its behalf by:
……………..………… Alex Sainsbury - Chairman ……………..………. Anupam Ganguli - Trustee
Whitechapel Gallery Annual Report 2021
**31**
## **WHITECHAPEL GALLERY CONSOLIDATED STATEMENT OF CASH FLOWS AS AT 31 MARCH 2021**
||**31 March 2021**|**31 March 2021**||31 March 2020|31 March 2020|
|---|---|---|---|---|---|
|**£**||**£**||£|£|
|||||||
|**Net cash provided by / (used in) operating activities**||**474,679**|||(217,661)|
|||||||
|_Cash flows from investing activities:_||||||
|Dividends, interest and rents from investments
**201**|||47,327|||
|Purchase of property, plant and equipment
**(17,497)**|||(14,851)|||
|Purchase of investments
**(201)**|||(47,327)|||
|Withdrawals from investments
**1,182,926**|||106,495|||
|**Net cash provided by investing activities**||**1,165,429**|||91,644|
|||||||
|_Cash flows from financing activities:_||||||
|Interest paid
**(16,462)**|||(34,815)|||
|Repayments of borrowing
**-**|||-|||
|**Net cash used in financing activities**||**(16,462)**|||(34,815)|
|||||||
|**Change in cash and cash equivalents in the reporting period**||**1,623,646**|||(160,832)|
|||||||
|**Cash and cash equivalents at the beginning of the reporting**
**period**||**(642,161)**|||(481,329)|
|||||||
|**Cash and cash equivalents at the end of the reporting**
**period**||**981,485**|||(642,161)|
|||||||
|||||||
||||**2021**||**2020**|
|**Reconciliation of cash flows from operating**
**activities**|||**£**||**£**|
|||||||
|Net income / (expenditure) for the reporting period|||**1,403,766**||(692,165)|
|||||||
|Adjustments for:||||||
|||||||
|Depreciation charges|||**357,251**||355,579|
|(Gains) / losses on investments|||**(456,716)**||172,456|
|Dividends, interest and rents from investments|||**(201)**||(47,327)|
|Interest costs|||**16,462**||34,815|
|Dilapidation of current asset investments|||**23,869**||798|
|Increase in stocks|||**18,555**||(25,178)|
|(Increase) in debtors|||**(629,846)**||(58,872)|
|(Decrease) in creditors|||**(258,461)**||42,233|
|||||||
||||**474,679**||(217,661)|
|||||||
||||**2021**||2020|
|**Analysis of cash and cash equivalents**|||**£**||£|
|||||||
|Cash in hand|||**982,333**||157,257|
|Bank overdraft and drawdown facilities repayable on demand|||**(848)**||(799,418)|
|Total cash and cash equivalents|||**981,485**||(642,161)|
Whitechapel Gallery Annual Report 2021
**32**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **1 CHARITABLE STATUS**
Whitechapel Gallery is a charitable trust (Charity Registration number 312162). The address of the registered office is 77-82 Whitechapel High Street.
## **2 ACCOUNTING POLICIES**
The following accounting policies have been used consistently in dealing with items that are considered material to the Gallery’s affairs.
## **a) Accounting basis**
The financial statements have been prepared under the historical cost convention, as modified by the revaluation of fixed assets investments, and in accordance with the Statement of Recommended Practice - Accounting and Reporting by Charities SORP (FRS 102).
The accounts (financial statements) have been prepared to give a ‘true and fair’ view and have departed from th e Charities (Accounts and Reports) Regulations 2008 only to the extent required to provide a ‘true and fair view’. This departure has involved following Accounting and Reporting by Charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) issued on 16 July 2014 rather than the Accounting and Reporting by Charities: Statement of Recommended Practice effective from 1 April 2005 which has since been withdrawn.
The principal accounting policies adopted in the preparation of the financial statements are set out below and are consistent with those of the previous year.
Whitechapel Gallery meets the definition of a public benefit entity under FRS102.
Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy notes.
The individual entity accounts of Whitechapel Gallery have taken advantage of the disclosure exemption under FRS 102 to separately disclosure categories of financial instruments and items of income, expenses, gains or losses relating to instruments as these have been presented on a group basis in the notes to the accounts.
## **Consolidation**
The consolidated financial statements comprise Whitechapel Gallery, the main entity, its subsidiary, Whitechapel Gallery Ventures Limited and related charity, Whitechapel Gallery Estates Limited. The accounts are consolidated on a line by line basis.
The ultimate controlling party is Whitechapel Gallery Trustee Limited. As this entity acts as Corporate Trustee only and does not trade, consolidated accounts are not required at this level.
## **Going Concern**
In assessing the charity’s financial position, the Trustees have taken into account its plans for the foreseeable future, the risks to which it is exposed and detailed cash projections. In line with many charities the forecast voluntary income is dependent upon continuing support of the patrons and members of the gallery and Arts Council funding which is expected to continue at least at present levels for the foreseeable future, but is not guaranteed.
Following detailed discussions with Arts Council England, in March 2020 the Gallery agreed a forward financial strategy to address historic deficits and stabilise the operating model going forward, through a combination of endowment fund redeployment, the securing of major philanthropic gifts and a thorough review of the organisation’s business model. Following receipt of the requisite funder and Charity Commission approvals, these initiatives have provided a financially stable base from which to move forward.
The impact of the Covid- 19 pandemic on the organisation’s operations has been significant, with an enforced four -month closure of the building from 18[th] March 2020, from 5[th] November to 3[rd] December, and from 16[th] December 2020 to 17[th] May 2021. Following extensive scenario planning, measures have been taken in response to this in order to stabilise the Gallery’s financial position. The exhibitions and public events programmes were revised both in the building and online
Whitechapel Gallery Annual Report 2021
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
with the effect of reducing overall costs. All available emergency funding schemes have been utilised and expenditure budgets reduced in all other areas of the organisation, from communications to overheads. The result of all these initiatives is a very positive outturn for 2020-21 that mitigates many of the more severe impacts of the pandemic. However the cost of the programme changes will have a material effect on the 2021-22 financial year, which will be mitigated through strategic use of reserves and emergency funding initiatives.
Following these detailed assessments, the trustees continue to be satisfied that they will have sufficient funds to meet operational needs for at least 18 months from the date of signing and accordingly it continues to remain appropriate to prepare the financial statements on the going concern basis.
## **Critical accounting judgements and key sources of estimation uncertainty**
In the application of the charit y’s accounting policie s, which are described in note 2, 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 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.
The key sources of estimation uncertainty that have a significant effect on the amounts recognised in the financial statements are described in the accounting policies and are summarised below:
_Current asset investments_ – are initially valued at their expected market value, which is subject to an annual adjustment and impairment based on sales in the year.
## **b) Income**
All income is included in the Statement of Financial Activities (SOFA) when the Charity is legally entitled to the income, receipt is probable and the amount can be quantified with reasonable accuracy (See Note 1(d) below).
Voluntary income comprising grants and donations is allocated to each category of income streams in the year that there is receipt is probably and the amount is quantifiable.
Trading income comprises catalogues, publications, editions, posters, rental and gallery hire.
Investment income is included within the Statement of Financial Activities in the year in which it is receivable.
Gifts in kind are recognised on receipt at the full value to the organisation.
Government grants are recognised on the performance model, when the charity has complied with any conditions attaching to the grant and the grant will be received. The grant in connection to the Coronavirus Job Retention Scheme has been recognised in the period to which the underlying furloughed staff costs relate to. Included in income is an amount of £461,008 in respect of the Coronavirus Job Retention Scheme.
## **c) Expenditure**
Expenditure is included within the financial statements on an accruals basis. Expenditure incurred on exhibitions for future years is included on the balance sheet as deferred expenditure.
Cost of activities in the furtherance of the Charity’s objectives includes the direct cost of the activities. Where such cost s relate to more than one functional cost category, they have been allocated on either an estimate of time or on floor space basis, as appropriate.
Fundraising costs are those incurred in seeking voluntary contributions and do not include the costs of disseminating information in support of charitable activities.
Governance costs are those incurred in connection with administration of the Charity and compliance with constitutional and statutory requirements.
Whitechapel Gallery Annual Report 2021
**34**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **d) Exhibitions**
Income relating to exhibitions which span the year end are accounted for in the year in which the ticket sales occur. Touring exhibitions organised by the Gallery which tour to other venues are accounted for in the year in which the exhibition occurs.
## **e) Tangible fixed assets**
Expenditure on items in excess of £500 are capitalised and recorded at historic cost in the accounts. Except for freehold land and assets in the course of construction, tangible fixed assets are depreciated on a straight-line basis over their estimated useful lives as follows:
Buildings - 50 years Plant and Machinery - 4 years Equipment, Fixture and Fittings - 3, 4 and 11 years Web Site - 3 years
## **f) Pension costs**
The pension plan for the employees is a defined contribution scheme. Consequently, the annual instalments charged to the Statement of Financial Activities are fixed under the terms of the schemes and the Gallery has no potential liability other than for the payment of those contributions.
## **g) Fund accounting**
Permanent endowment funds are where funds have been donated and restrictions are placed on the conversion of the original capital sum into income.
Restricted funds are those funds subject to donor-imposed restrictions as to their use.
Unrestricted funds are where no restrictions have been placed on the use of the monies received as long as they are spent within the charitable objectives of the organisation. This includes designated funds where Trustees have set aside the funds for a particular purpose.
## **h) Total return investment policy**
The Trustees have adopted a total return approach to investment of the Transform Future Fund and spending as permitted under a direction received from the Charity Commission. A base date of 31 March 2012 has been adopted for the applying the total return.
## **i) Investments**
All investments are stated at market value.
Realised and unrealised gains and losses on investments, based on year-end market values, are credited or charged through the SOFA.
Current asset investments are stated after impairment calculations that take into account moving annual total sales.
## **j) Stock**
Stock is stated at the lower of cost and net realisable value. Net realisable value is the price at which stock can be sold in the normal course of business after allowing for marketing, selling and distribution costs. Provisions are made where necessary for obsolete, slow moving and defective stock.
## **k) Operating lease commitments**
Rentals payable under operating leases, where substantially all risks and rewards of ownership remain with the lessor, are charged to income on a straight-line basis over the lease term.
Whitechapel Gallery Annual Report 2021
**35**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **l) Financial Instruments**
Whitechapel Gallery has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at amortised cost using the effective interest method. Financial assets held at amortised cost comprise cash at bank and in hand, together with trade and other debtors. Financial liabilities held at amortised cost comprise trade and other creditors, and accruals.
Investments, including bonds held as part of an investment portfolio are held at fair value at the Balance Sheet date, with gains and losses being recognised within income and expenditure. Investments in subsidiary undertakings are held at cost less impairment.
Whitechapel Gallery Annual Report 2021
**36**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
|**3 INCOME**
**(a) Voluntary Income**
Arts Council England
Exhibition funding
Education funding
Benefit events and general donations
Whitechapel patrons and corporate
donations
Whitechapel members
Naming Gift
Coronavirus Job Retention Scheme
Capital renewal funding
**(b) Trading activities**
Sale of publications
Sale of Limited Edition art works
Sale of posters and postcards
Courses
London Art Book Fair
Hire of gallery
Art Consultancy
Catering franchise
Bookshop franchise
**(c) Investment income**
Bank interest
Investment income
**(d) Income from charitable activities**
**Exhibitions:**
Touring fees
Admission fees
Sales of exhibition catalogues
Other income
Covid-19 Emergency Funding
Museums & Galleries Exhibitions Tax
Relief
**Education:**
MA Curating the Contemporary
Admission fees and lecture tickets|**Unrestricted Funds:**
**Restricted Funds:**
**Total**
Total
**General**
**Designated**
**Revenue**
**Capital**
**Endowment**
**2021**
2020
**£**
**£**
**£**
**£**
**£**
**£**
£
2,221,955
-
-
-
-
**2,221,955**
1,510,998
-
-
430,786
-
-
**430,786**
408,650
-
-
108,763
-
-
**108,763**
105,765
562,020
-
-
-
-
**562,020**
364,434
391,194
-
-
-
-
**391,194**
219,569
12,848
-
-
-
-
**12,848**
17,390
-
-
-
-
-
**-**
500,000
461,008
-
-
-
-
**461,008**
-
-
18,563
-
-
-
**18,563**
30,000
**3,649,025**
**18,563**
**539,549**
**-**
**-**
**4,207,137**
3,156,806|
|---|---|
||109,047
-
-
-
-
**109,047**
123,138
243,566
-
-
-
-
**243,566**
241,046
484
-
-
-
-
**484**
1,124
-
-
-
-
-
**-**
9,091
-
-
-
-
-
**-**
18,883
-
-
-
-
-
**-**
85,266
-
-
-
-
-
**-**
3,415
-
-
-
-
-
**-**
17,250
8,020
-
-
-
-
**8,020**
25,000|
||**361,117**
**-**
**-**
**-**
**-**
**361,117**
524,213|
||23
-
-
-
-
**23**
-
-
-
-
-
-
**-**
47,327
**23**
**-**
**-**
**-**
**-**
**23**
47,327
5,000
-
-
-
-
**5,000**
35,292
46,786
-
-
-
-
**46,786**
185,744
10,018
-
-
-
-
**10,018**
50,135
118,572
-
-
-
-
**118,572**
58,053
49,100
-
-
-
-
**49,100**
-
83,919
-
-
-
-
**83,919**
158,453
**313,395**
**-**
**-**
**-**
**-**
**313,395**
487,677|
||2,750
-
-
-
-
**2,750**
-
295
-
-
-
-
**295**
22,978
**3,045**
**-**
**-**
**-**
**-**
**3,045**
22,978|
The Whitechapel Gallery is proud to be a National Portfolio Organisation of Arts Council England.
Whitechapel Gallery Annual Report 2021
**37**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
|**4 RESOURCES EXPENDED**
Exhibitions
Education
Costs of generating voluntary
income
Fundraising trading
Investment management costs
Support costs|**Total**
Total
**Staff Costs**
**Direct Costs**
**Support Costs**
**2021**
2020
**£**
**£**
**£**
**£**
£
693,052
874,461
890,905
**2,458,418**
3,059,553
183,786
75,639
216,824
**476,249**
581,138|
|---|---|
||876,838
950,100
1,107,729
**2,934,667**
3,640,691|
||-
-
592,315
**592,315**
647,610
172,012
212,311
-
**384,322**
428,597
-
26,564
-
**26,564**
41,812
1,249,254
450,789
(1,700,044)
**-**
-|
||2,298,104
1,639,764
-
**3,937,868**
4,758,710|
|**5 GOVERNANCE COSTS**
Legal and professional
Audit fees
Subscription
**6 SUPPORT COSTS**
Staff and related costs
Property costs
Telecommunications and postage
Photocopying and stationery
Development cost
Governance costs
**7 AUDIT COSTS**
Charity
Whitechapel Gallery Ventures Limited
Whitechapel Gallery Estates Trust
Under-accrual in previous year
Overrun cost in previous year||**2021**
2020
**£**
£
**3,823**
5,864
**56,000**
15,288
**655**
225|
|---|---|---|
|||**60,478**
21,377|
|||**2021**
2020
**£**
£
**1,249,254**
1,286,017
**288,580**
368,704
**13,663**
11,069
**12,265**
12,834
**75,804**
177,002
**60,478**
21,377
**1,700,044**
1,877,003|
|||**2021**
2020
**£**
£
**15,000**
14,450
**7,250**
7,250
**1,550**
1,550
**17,200**
838
**15,000**
-
**56,000**
24,088|
Whitechapel Gallery Annual Report 2021
**38**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
|**8 STAFF COSTS**
Wages and salaries
Social security costs
Pension costs
Other staff costs
Employees with total employee benefits (excluding
employer pension costs) of £60k and above
£70,001 - £80,000
£90,001 - £100,000|**2021**
2020
**£**
£
**2,021,304**
2,080,459
**176,778**
180,246
**78,823**
97,014
**21,199**
34,546
**2,298,104**
2,392,265|
|---|---|
||**2021**
2020
**Number**
Number
**1**
1
**1**
1|
Two employees (2019-20 : 2) receiving remuneration of £60,000 or more participated in the charity’s pension scheme. Total employer contributions in the year totalled £20,376 (2019-20: £19,976).
|Total remuneration for key management personnel|**2021**|2020|
|---|---|---|
||**£**|£|
|Key management personnel|**567,479**|580,994|
The Whitechapel Gallery operates a defined contribution pension scheme. The assets of the scheme are held separately from those of the Gallery in independently administered funds. Pension costs incurred in the year are shown above. The balance withheld at the year-end was nil (2019-20: nil).
|Exhibition
Education
Development and communication
Building, operations and visitor services
Whitechapel Gallery Ventures Ltd.
Administration, finance and Director’s office, including
the Director
Casual Staff
Total staff (full-time, part-time and casual)|**Average No. of Employees**
**2021**
2020
**14**
12
**7**
7
**16**
16
**28**
29
**6**
7
**6**
5|
|---|---|
||**77**
76|
||**43**
43
**120**
119|
During the period, no redundancy payments were agreed for any employees (2019-20: one payment totalling £2,008).
Whitechapel Gallery Annual Report 2021
**39**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
|**9 INVESTMENTS (Charity and**|**Group)**|||**2021**|2020|
|---|---|---|---|---|---|
|||||**£**|£|
||**Endowed**|**Funds:**|**Restricted**|||
|**Quoted Investments:**|**Transform**|**Catalyst**|**Capital**|||
|Market Value at 1 April||||||
|2020|2,304,543|1,505,770|403,178|**4,213,491**|4,445,114|
|Additions|-|-|-|**-**|-|
|Disposals/ Withdrawals|(230,000)|(852,926)|(100,000)|**(1,182,926)**|(106,495)|
|Interest Earned|-|200|-|**200**|47,327|
|Unrealised gains / (losses)||||||
|and revaluations|390,916|-|65,800|**456,716**|(172,456)|
|**Market Value at 31 March**||||||
|**2021**|2,465,459|653,044|368,978|**3,487,481**|4,213,490|
|**Historical cost at 31 March**||||||
|**2021**|2,500,000|653,044|413,873|**3,566,917**|4,419,643|
The total market value of quoted investments is held in JP Morgan Chase International Equity and Bonds Funds and miscellaneous investment products. Historical cost represents the cost of the investments held in the portfolio at the date they were purchased.
||**Endowed**|**Funds:**|**Restricted**|**2021**|2020|
|---|---|---|---|---|---|
||**Transform**|**Catalyst**|**Capital**|**£**|£|
|**Amount to be drawn down**||||||
|**/ repaid**|-|-|-|**-**|(47,310)|
Whitechapel Gallery Annual Report 2021
**40**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **10 SUBSIDIARY COMPANIES**
## **Whitechapel Gallery Ventures Limited**
The investment in the trading subsidiary Whitechapel Gallery Ventures Limited (company number 05410846), which is registered in England & Wales, is held by Whitechapel Gallery Trustee on behalf of Whitechapel Gallery. The company’s principal activities are the sale of merchandising, catalogues and limited editions, the provision of catering services and gallery hires, and produce exhibitions for the Whitechapel Gallery for the purpose of claiming the new HMRC Museums and Galleries Exhibitions Tax Relief, all for the benefit of Whitechapel Gallery. The registered office for the company is the same address as for Whitechapel Gallery (see note 1). The subsidiary reported a profit for the year ended 31 March 2021 amounting to £95,358 after accounting for Museums and Galleries Exhibitions Tax Relief (2020: £254,069).
|**TURNOVER**
Cost of Sales
**GROSS PROFIT**
Administrative expenses
Other operating income
**OPERATING PROFIT**
**TAXATION**
**PROFIT AFTER TAXATION**
**STATEMENT OF CHANGES IN EQUITY**
Profit for the year
Equity at start of period
Gift aid donation
Equity at end of period|**2021**
**£**
**1,095,067**
**(1,092,591)**
**2,476**
**(33,701)**
**42,664**
**11,439**
**83,919**
**95,358**
**95,358**
**1**
**(95,358)**
**1**|2020
£
1,901,654
(1,792,534)|
|---|---|---|
|||109,120
(55,754)
42,250|
|||95,616
158,453|
|||254,069
254,069
1
(254,069)|
|||1|
Whitechapel Gallery Annual Report 2021
**41**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **10 SUBSIDIARY COMPANIES cont’d**
## **Whitechapel Gallery Estates Trust Limited**
Whitechapel Gallery Estates Trust Limited is a company limited by guarantee (company number 07626934) and charity registered (1142142) in England & Wales. Its principal activities are the provision and maintenance of an art gallery for exhibition to the public of:
- Modern and Historical fine art
- Modern and Historical design and applied art
- Work done by school children or students or by persons resident in the neighbourhood of the art; and to promote and encourage the education of the public in the arts. The registered office for the company is the same address as for Whitechapel Gallery (see note 1).
The investment in the subsidiary company is also held by Whitechapel Gallery Trustee on behalf of Whitechapel Gallery. The subsidiary reported a surplus for the year ended 31 March 2021 amounting to £2,947 (2020: £2,948) and total funds carried forward of £28,102 (2020: £25,155).
|**INCOMING RESOURCES**
**Incoming resources from generated funds**
Voluntary Income
**TOTAL INCOMING RESOURCES**
**RESOURCES EXPENDED**
**Cost of generating funds**
Costs of generating voluntary income
Governance costs
**TOTAL RESOURCES EXPENDED**
**NET MOVEMENT IN FUNDS**
Funds brought forward at 1 April 2020
**Funds carried forward at 31 March 2021**|**2021**
**£**
**4,600**
**4,600**
**-**
**1,653**
**1,653**
**2,947**
25,155
**28,102**|2020
£
4,600|
|---|---|---|
|||4,600
-
1,652|
|||1,652|
|||2,948|
|||22,207|
|||25,155|
Whitechapel Gallery Annual Report 2021
**42**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **11 FIXED ASSETS**
## **(a) Charity**
|**Cost**
As at 1 April 2020
Additions
**As at 31 March 2021**
**Accumulating depreciation**
As at 1 April 2020
Charge
**As at 31 March 2021**
Net book value:
**As at 31 March 2021**
As at 1 April 2020|**Unrestricted**
**Restricted**
**Unrestricted**
**Capital**
**Funds**
**Funds**
**Funds**
**Funds**
**Equipment,**
**Equipment,**
**Web Site**
**Leasehold**
**Furniture &**
**Furniture &**
**& Other**
**Property**
**Fittings**
**Fittings**
**Fittings**
**Total**
**16,608,787**
**878,339**
**272,529**
**49,259**
**17,808,914**
-
5,016
12,481
**17,497**
**16,608,787**
**878,339**
**277,545**
**61,740**
**17,826,411**
**4,099,261**
**870,208**
**234,204**
**34,707**
**5,238,380**
332,176
4,049
15,742
5,284
**357,251**
**4,431,437**
**874,257**
**249,946**
**39,991**
**5,596,631**|
|---|---|
||**12,177,350**
**4,082**
**27,599**
**21,749**
**12,230,780**|
||12,509,526
8,130
38,325
14,552
12,570,533|
On 15 December 2011, under an Order granted by the Charity Commission, the freehold land and property, previously owned by Whitechapel Gallery having a net book value of £16,296,286, was transferred to the Whitechapel Gallery Estates Trust for £1. On the same date Whitechapel Gallery was granted a 999-year full repairing lease for an annual rent of £4,600.
Charges are held over the freehold and the leasehold of the property by the Mayor and Burgesses of the London Borough of Tower Hamlets; the Trustees of the National Heritage Memorial Fund; and the Arts Council of England.
## **(b) Group**
On a group basis the leasehold property with the net book value of £12,230,780 shown above is a freehold property as it is owned by Whitechapel Gallery Estates Trust.
**12 CURRENT ASSET INVESTMENTS**
|**Group**|Group|**Charity**|Charity|
|---|---|---|---|
|**20****_2_1 **|2020|**2021**|2020|
|**£**|£|**£**|£|
|**132,334**|156,203|**132,334**|156,203|
Limited edition artworks gifted to the Whitechapel Gallery in previous years have been recognised as a current asset investment on the balance sheet as at 31 March 2021 including editions by Joan Jonas, Sarah Lucas, Roni Horn, Michael Landy, Matthew Barney and Rachel Whiteread.
Whitechapel Gallery Annual Report 2021
**43**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
|**13**|**STOCK**|**Group**|Group|**Charity**|Charity|
|---|---|---|---|---|---|
|||**2021**|2020|**2021**|2020|
|||**£**|£|**£**|£|
|||**296,212**|314,767|**44,890**|44,890|
The closing stock is made up of catalogues, publications and limited editions, which are valued at the lower of cost and net realisable value.
|**14 DEBTORS**
Trade debtors
Other taxes
Other debtors
Amounts due from subsidiary
Prepayments and work
in progress
Accrued income
**15 CREDITORS**
Amounts falling due within one year:
Trade creditors
Bank overdraft and draw
down facility
Social security and other taxes
Other creditors
Amounts due to subsidiary
Accruals
Deferred income|**Group**
Group
**Charity**
Charity
**2021**
2020
**2021**
2020
**£**
£
**£**
£
**554,016**
174,017
**535,258**
148,454
**-**
-
**-**
-
**32,181**
28,580
**13,689**
8,538
**-**
-
**516,356**
403,563
**48,617**
51,405
**46,476**
51,105
**869,339**
620,306
**626,901**
461,787
**1,504,153**
874,308
**1,738,680**
1,073,447
**Group**
Group
**Charity**
Charity
**2021**
2020
**2021**
2020
**£**
£
**£**
£
**130,683**
237,015
**115,869**
161,277
**847**
799,418
**847**
799,418
**59,935**
55,318
**59,935**
55,318
**161,296**
158,547
**154,313**
158,547
**-**
-
**3,045**
3,140
**67,352**
23,503
**67,352**
23,503
**15,000**
218,343
**15,000**
218,343|
|---|---|
||**435,113**
1,492,144
**416,361**
1,419,546|
## **Deferred Income**
Income has been deferred to future periods where costs have been charged in advance for future expenses.
|Movement on deferred income
Income deferred from previous period
Deferred income released from previous period
Income deferred from current period:
**Closing balance**|**Group**
**Group**
**2021**
**2020**
**£**
**£**
218,343
72,170
(218,343)
(72,170)
15,000
218,343|
|---|---|
||**15,000**
218,343|
Whitechapel Gallery Annual Report 2021
**44**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
|**16 MOVEMENT ON FUNDS**|||||**Transfers**||
|---|---|---|---|---|---|---|
|||**Movement in funds:**||**Gain on**|**between**||
||**01 Apr 2020**|**Income**|**Expenditure**|**Investments**|**Funds**|**31 Mar 2021**|
||(restated)||||||
|**Endowment funds**|||||||
|Transform Future Fund|2,320,880|-|-|390,916|(230,000)|2,481,796|
|Catalyst Future Fund|1,459,264|-|-|200|-|1,459,464|
|**Total endowment funds**|**3,780,144**|**-**|**-**|**391,116**|**(230,000)**|**3,941,260**|
|**Restricted funds**|||||||
|Capital Renewal Fund|526,010|-|(15,742)|65,800|-|576,068|
|Capital Fund|6,878,414|-|(242,081)|-|-|6,636,333|
|Restricted Programme Fund|-|539,549|(539,549)|-|-|-|
|**Total restricted funds**|**7,404,424**|**539,549**|**(797,372)**|**65,800**|**-**|**7,212,401**|
|**Designated funds**|||||||
|Building Fund|5,549,845|-|(94,143)|-|9,673|5,465,375|
|Capital Works Fund|-|-|-|-|401,000|401,000|
|Roof Repair Fund|-|18,563|-|-|-|18,563|
|General Fund|-|-|-|-|15,000|15,000|
|Designated Programme Fund|60,000|-|-|-|(60,000)|-|
|**Total designated funds**|**5,609,845**|**18,563**|**(94,143)**|**-**|**365,673**|**5,899,938**|
|**General fund**|**-**|**4,326,605**|**(3,046,353)**|**-**|**(135,673)**|**1,144,581**|
|**TOTAL FUNDS**|**16,794,414**|**4,884,717**|**(3,937,868)**|**456,916**|**-**|**18,198,180**|
Prior year funds have been reviewed and a correction made to the transfers between restricted and designated funds
## **COMPARATIVE MOVEMENT ON FUNDS FOR YEAR ENDED 31 MARCH 2020 (restated)**
|**Endowment funds**
Transform Future Fund
Catalyst Future Fund
**Total endowment funds**
**Restricted funds**
Capital Renewal Fund
Capital Fund
Restricted Programme Fund
**Total restricted funds**
**Designated funds**
Building Fund
Programme Fund
**Total designated funds**
**General fund**
**TOTAL FUND**|**Transfers**
**Movement in funds:**
**(Loss) on**
**between**
**01 Apr 2019**
**Income**
**Expenditure**
**Investments**
**Funds**
**31 Mar 2020**
2,362,945
-
-
(42,065)
-
2,320,880
1,582,324
47,327
-
(123,060)
(47,327)
1,459,264
**3,945,269**
**47,327**
**-**
**(165,125)**
**(47,327)**
**3,780,144**
522,397
30,000
(19,056)
(7,331)
-
526,010
7,120,495
-
(242,081)
-
-
6,878,414
80,657
514,415
(514,415)
-
(80,657)
-
**7,723,549**
**544,415**
**(775,552)**
**(7,331)**
**(80,657)**
**7,404,424**
5,680,601
-
(94,143)
-
(36,613)
5,549,843
137,160
-
-
-
(77,160)
60,000
**5,817,761**
**-**
**(94,143)**
**-**
**(113,773)**
**5,609,845**
**-**
**3,647,259**
**(3,889,016)**
**-**
**241,756**
**-**
**17,486,579**
**4,239,001**
**(4,758,710)**
**(172,456)**
**-**
**16,794,414**|
|---|---|
Whitechapel Gallery Annual Report 2021
**45**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **Endowment Funds**
_Transform Future Fund_ - An Arts Council managed fund award in 2011 of £2,700,000 as a permanent endowment to be invested and the income used for unrestricted use by the Gallery.
Under the Total Return investment approach that has been granted for this fund only, the Charity is permitted to use any increase in the value of the investment as income. The Core Endowment is fixed at £2,731,252, representing the value of the endowment as at 31 March 2012. Endowment funds in excess of the Core Endowment are known as the Unapplied Total Return; these are the accumulated returns from which the Charity may make funds available and utilise as income. In 2015-16 the Trustees received permission from Arts Council England, and in 2016-17 from the Charity Commission, for £450,000 to be transferred from the endowment fund to revenue. This sum is to be recouped to the investment over the following ten years, and the fund value has increased to reflect four instalments of recoupment as at 31 March 2021.
The overall movement in unapplied total return in 2020-21 was as follows:
|**Unapplied total return at 1 April 2020**
Plus: Investment gains and income
Less: recoupment of funds
Less: investment withdrawal
**Unapplied total return at 31 March 2021**
**Value of core endowment at 1 April 2020**
Recoupment of funds
**Value of core endowment at 31 March 2021**
**Net value of Transform Future Fund assets at 31 March 2021**|**£**
**(50,396)**
390,916
(90,000)
(230,000)|
|---|---|
||**20,520**
2,371,252
90,000|
||**2,461,252**|
||**2,481,796**|
_Catalyst Future Fund_ - An element of the Future Fund wherein donations were matched by contributions from an Arts Council Catalyst Endowment Grant, awarded in November 2012. During the permanent endowment period expiring in November 2037, the investment return will be used to support digital activity; sustain long-term education, community and public programme work; engage and retain skilled curators; and enable innovation in exhibition programming.
## **Restricted Funds**
– _Capital Renewal Fund_ a combination of an Arts Council managed fund awarded in 2011 restricted to the maintenance of the Gallery's current buildings and infrastructure, drawn down over the next 20 years, a £75,000 fund awarded by the Headley Trust and £3,803 awarded by London Borough of Tower Hamlets in 2018-19. In the year they collectively funded £15,742 in capital depreciation costs to the Gallery.
_Capital Fund_ - the balance of the fund represents the excess as at 31 March 2021 of income received towards the Whitechapel Project over expenditure incurred on depreciation of the asset from 1 April 2010.
_Restricted Programme Fund_ - this holds income restricted to Programme activities.
## **Designated Funds**
The designated _Building Fund_ represents funding spent on the Gallery buildings and will be offset against depreciation.
The designated _Programme Fund_ holds income designated to Programme activities.
The designated _Capital Works Fund_ holds amounts designated towards urgent capital works that aren’t covered by the restricted Capital Renewal fund
Whitechapel Gallery Annual Report 2021
**46**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
The designated _Roof Repair Fund_ holds funds received to offset the cost of urgent roof repairs
The designated _General Fund_ holds funds to invest in a new customer relationship management system that was delayed from 2020-21
## **Unrestricted Funds**
General Fund - this is the Gallery’s general unrestricted reserve.
## **Transfers between funds**
The following fund transfers have been made:
£230,000 has been transferred from the Transform Fund to the unrestricted General Fund as realised investment gains £9,673 has been transferred from the unrestricted General Fund to the designated Building Fund to replenish funds
£401,000 has been transferred from the unrestricted General fund to the designated Capital Works Fund to pay for urgent capital works that aren’t covered by the restricted Capital Renewal
£15,000 has been transferred from the unrestricted General Fund to the designated General Fund to invest in a new customer relationship management system that was delayed from 2020-21
£60,000 has been transferred from the designated Programme Fund to the unrestricted General Fund to release funds raised in advance
## **ANALYSIS OF NET ASSETS BETWEEN FUNDS**
|Leasehold property
Other fixed assets
Investments
Cash
Stock
Current asset investments
Debtors
Creditors
**Total**|**Endowment**
**Restricted**
**Designated**
**General**
**Funds**
**Funds**
**Funds**
**Funds**
**Total**
**£**
**£**
**£**
**£**
**£**
6,663,932
5,465,375
21,980
**12,151,287**
79,493
**79,493**
3,118,502
368,979
**3,487,481**
99,997
882,336
**982,333**
296,212
**296,212**
132,334
**132,334**
822,758
434,563
246,832
**1,504,153**
(435,113)
**(435,113)**|
|---|---|
||**3,941,260**
**7,212,401**
**5,899,938**
**1,144,581**
**18,198,180**|
## **COMPARATIVE ANALYSIS OF NET ASSETS BETWEEN FUNDS FOR THE YEAR ENDED 31 MARCH 2020 (restated)**
|Leasehold property
Other fixed assets
Investments
Cash
Stock
Current asset investments
Debtors
Creditors
**Total**|**Endowment**
**Restricted**
**Designated**
**General**
**Funds**
**Funds**
**Funds**
**Funds**
**Total**
**£**
**£**
**£**
**£**
**£**
6,916,739
5,549,846
19,440
**12,486,025**
84,508
**84,508**
3,810,107
403,177
206
**4,213,490**
157,257
**157,257**
314,767
**314,767**
156,203
**156,203**
16,337
60,000
797,971
**874,308**
(46,300)
(1,445,844)
**(1,492,144)**|
|---|---|
||**3,780,144**
**7,404,424**
**5,609,845**
**-**
**16,794,414**|
Whitechapel Gallery Annual Report 2021
**47**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **17 FINANCIAL COMMITMENTS**
At 31 March 2021 the charity was committed to making the following minimum lease payments under operating leases; total operating lease expense in 2020-21 was £8,900 (2019-20: £8,900):
|Operating leases which expire:
Within one year
Between two & five years
After five years|**Land & Buildings**
**Other**
**2021**
2020
**2021**
2020
**£**
£
**£**
£
**4,600**
4,600
**4,300**
4,300
**18,400**
18,400
**12,029**
**12,029**
**4,529,260**
**4,534,155**
**-**
-|
|---|---|
||**4,552,260**
**4,557,155**
**16,329**
16,329|
## **18 PARENT UNDERTAKINGS AND CONTROLLING PARTIES**
The charity is controlled by Whitechapel Gallery Trustee Limited, a registered charity. Whitechapel Gallery Trustee Limited produces consolidated accounts, incorporating the results of the charity. In the opinion of the directors Whitechapel Gallery Trustee Limited is the charity's ultimate controlling party.
## **19 RELATED PARTY TRANSACTIONS**
Neither the trustees nor any persons connected with them have received any remuneration during the current or preceding year. No trustees were reimbursed for expenses incurred on behalf of the organisation (2019-20: £nil). The aggregate value of trustee donations to the charity in the year was £39,550 (2019-20: £53,780).
The Whitechapel Gallery Ventures Limited inter-company balance was a debtor of £516,356 (2019-20: £403,563).
The Whitechapel Gallery Estates Trust Limited inter-company balance was a creditor of £3,045 (2019-20: £3,141).
## **20 FINANCIAL INSTRUMENTS**
At the balance sheet date the consolidated group held financial assets at amortised cost compromising cash and short term deposits, trade debtors, other debtors and accrued income of £2,334,467 (2019-20: £994,967) and financial liabilities at amortised cost, compromising trade creditors, bank overdraft, other creditors and accruals of £385,255 (2019-20: £1,243,846). The company also had financial assets held at fair value of £3,487,480 (2019-20: £4,276,945). Total interest income received in respect of financial assets held at fair value totalled £nil (2019-20: £61,314)
## **21 POST BALANCE SHEET EVENTS**
Since the balance sheet date the Covid-19 pandemic has continued to impact the operation of the Gallery necessitating the closure of building, requiring exhibitions and events to be cancelled or delayed and affecting all areas of income. Additional statements have been included in the notes to the accounts to explain the various mitigation strategies adopted. Material adjustment to the overall financial statements is not considered necessary.
Whitechapel Gallery Annual Report 2021
**48**
## **WHITECHAPEL GALLERY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31ST MARCH 2021**
## **21 COMPARATIVE CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES BY FUND FOR THE YEAR ENDED 31 MARCH 2020 (restated)**
|**Unrestricted Funds**
**General**
**Designated**
**£**
**£**
**Income and endowments from:**
Donations and
legacies
2,612,391
-
Charitable activities:
Exhibitions
487,677
-
Education
22,978
-
Other:
Trading activities
524,213
-
Investments
-
-
**Total**
**3,647,259**
**-**
**Expenditure on:**
Raising funds
647,610
-
Charitable activities:
Exhibitions
2,295,623
94,143
Education
475,373
-
Other:
Trading subsidiary costs
428,597
-
Investment management
costs
41,812
-
**Total**
**3,889,015**
**94,143**
Net losses/gains on
investments
**-**
**-**
**Net (expenditure)**
**(241,756)**
**(94,143)**
Transfer between
funds (restated)
241,756
(113,773)
**NET MOVEMENT IN**
**FUNDS**
**-**
**(207,915)**
Funds brought forward
as at 1 April 2019
-
5,817,761
**Funds carried forward**
**as at 31 March 2020**
**-**
**5,609,845**|**Unrestricted Funds**
**General**
**Designated**
**£**
**£**
**Income and endowments from:**
Donations and
legacies
2,612,391
-
Charitable activities:
Exhibitions
487,677
-
Education
22,978
-
Other:
Trading activities
524,213
-
Investments
-
-
**Total**
**3,647,259**
**-**
**Expenditure on:**
Raising funds
647,610
-
Charitable activities:
Exhibitions
2,295,623
94,143
Education
475,373
-
Other:
Trading subsidiary costs
428,597
-
Investment management
costs
41,812
-
**Total**
**3,889,015**
**94,143**
Net losses/gains on
investments
**-**
**-**
**Net (expenditure)**
**(241,756)**
**(94,143)**
Transfer between
funds (restated)
241,756
(113,773)
**NET MOVEMENT IN**
**FUNDS**
**-**
**(207,915)**
Funds brought forward
as at 1 April 2019
-
5,817,761
**Funds carried forward**
**as at 31 March 2020**
**-**
**5,609,845**|**Unrestricted Funds**
**General**
**Designated**
**£**
**£**
**Income and endowments from:**
Donations and
legacies
2,612,391
-
Charitable activities:
Exhibitions
487,677
-
Education
22,978
-
Other:
Trading activities
524,213
-
Investments
-
-
**Total**
**3,647,259**
**-**
**Expenditure on:**
Raising funds
647,610
-
Charitable activities:
Exhibitions
2,295,623
94,143
Education
475,373
-
Other:
Trading subsidiary costs
428,597
-
Investment management
costs
41,812
-
**Total**
**3,889,015**
**94,143**
Net losses/gains on
investments
**-**
**-**
**Net (expenditure)**
**(241,756)**
**(94,143)**
Transfer between
funds (restated)
241,756
(113,773)
**NET MOVEMENT IN**
**FUNDS**
**-**
**(207,915)**
Funds brought forward
as at 1 April 2019
-
5,817,761
**Funds carried forward**
**as at 31 March 2020**
**-**
**5,609,845**|**Restricted Funds**
**Endowment**
**2020**
2019
**Revenue**
**Capital**
**Funds**
**Total**
Total
**£**
**£**
**£**
**£**
£
514,415
30,000
-
**3,156,806**
3,125,855
-
-
-
**487,677**
620,782
-
-
-
**22,978**
25,778
-
-
-
**524,213**
656,874
-
-
47,327
**47,327**
65,601
**514,415**
**30,000**
**47,327**
**4,239,001**
4,494,890
-
-
-
**647,610**
680,983
408,650
261,137
-
**3,059,553**
3,142,895
105,765
-
-
**581,138**
553,222
-
-
-
**428,597**
489,027
-
-
-
**41,812**
45,558|
|---|---|---|---|
||**3,647,259**|**-**|**514,415**|
||647,610
2,295,623
475,373
428,597
41,812|-
94,143
-
-
-||
||**3,889,015**
**-**
**(241,756)**
241,756
**-**
-
**-**|**94,143**|**514,415**
**261,137**
**-**
**4,758,710**
4,911,685|
|||**-**
**(94,143)**
(113,773)|**-**
**(7,331)**
**(165,125)**
**(172,456)**
28,751
**-**
**(238,468)**
**(117,798)**
**(692,165)**
(388,044)
(80,657)
-
(47,327)
-
-|
|||**(207,915)**
5,817,761
**5,609,845**|**(80,657)**
**(238,468)**
**(165,125)**
**(692,165)**
(388,044)
80,657
7,642,892
3,945,269
17,486,579
17,874,623
**-**
**7,404,424**
**3,780,144**
**16,794,414**
**17,486,579**|
Whitechapel Gallery Annual Report 2021
**49**