Igloo Artists Limited - Filleted accounts

IGLOO ARTISTS LTD - Company Information

Print Friendly Version

Registered number

06014730

Charity Number

1124325

Igloo Artists Limited

Report and Accounts

30 November 2017

Igloo Artists Limited
Registered number: 06014730
Trustees’ Report

Introduction
The trustees are pleased to present their annual report together with consolidated financial statements of the charity for the year ending November 2017 which meet the requirements for the directors report and account for the Companies Act purposes. The financial statements comply with the Charities Act 2011, the Companies Act 2006, the memorandum and Articles of Associations and the Statement of Recommended Practice - Accounting and Reporting by Charities (SORP2005).

Chair’s report
The two directors, Ruth Gibson and Bruno Martelli, have completed another successful year, extending their research into movement with Augmented, Virtual and Mixed Reality & motion capture through international residencies, laboratories & workshops. They have made international links through these networks particularly connections with the Auckland University of Technologies (AUT) Mocap Lab, dance artists and scholars from University of Auckland (UoA) and partners in Melbourne, at Deakin and Swinburne University. This enabled their team to explore VR as choreographic stimulus. Their film work for ‘Kinaesthetic Navigations, Kinaesthetic Stories’ began early in the year, taking place in the South Island of New Zealand in Central Otago. Editing and post production happened back in the UK and the premiere of ‘We Are Here And Everywhere At Once’ — the final title for the moving image installation, took place in July. Demonstrations and presentations include ‘Dance Fields’ conference, the ‘Error Network’ symposium, ‘Performing Encryption’ residency and Digital Research in the Humanities and Arts conference in Plymouth. The directors delivered workshops, talks and presentations to both the academic community and the wider public.

A highlight of this year was the artist’s invitation to become artists-in-residence at Great Ormond Street Hospital to undertake creative research with children and parents. They worked alongside clinical staff at GOSH Arts to explore how both augmented & virtual reality can be used to support the patient journey to surgery, to ease preanesthetic anxiety.

We welcomed artist, writer and lecturer David Surman as a trustee, which has been a huge success. David has brought with him a wealth of contacts and valuable insights.

Objectives and Activities of the Charity
Our purposes and activities:
The purpose of the charity is to further the advancement of the arts, and education in the arts in particular but not exclusively by:
(i) providing workshops in the visual, media and performing arts for the benefit of the general public.
(ii) improving the quality of life of children and young people with physical and mental disabilities through the design and production of sensory environments and material; and
(iii) producing, presenting and distributing new artworks.

Review of achievements and performance of the Charity during the year
In order to fulfil our purpose the artists carried out a number of activities, including a major new film installation ‘We Are Here And We Are Everywhere At Once’, and a site-specific installation ‘ExWhyZee’.

Dec - March
The year began with a successful event ‘VR Fest’ held in London at the artists studio. People were invited from different disciplines to come and experience Virtual Reality. A variety of headsets and programmes were available for participants to experience practically in relation to drawing. Participants enjoyed this new medium transforming their ideas of sculpture and painting, changing their individual practices beyond the scope of what they knew. Testing and trying out new tools and systems such as the Oculus Rift and VIVE headsets, providing a rich environment for learning new skills.

In December the Error Network came to an end and to celebrate a symposium was held in Leeds where researchers from dance and HCI, alongside those from archaeological computing, psychology, prosthetics, health, digital media sociology and mathematics were drawn together. Delegates included those from professional and industry backgrounds as well as academics. Presentation and workshops spanned dance, computer science, psychology, rehabilitation medicine, engineering & transport studies. The symposium encouraged cross-disciplinary debate to explore the central theme from multiple perspectives. The value of the network is where seemingly disparate disciplines came together to share expertise and knowledge. Ruth & Bruno delivered a motion capture lab over the 2 day symposium.

In the New Year the artists returned to New Zealand to complete their residency programme with University of Auckland and their collaboration with choreographer Dr Carol Brown. They travelled to the landscapes of the South Island to shoot a film with local artists. Ruth & Bruno also spend time in the motion capture laboratory of Auckland University of Technology to capture and film extra group choreographies and head shots. They travel to Napier to meet Terri Crawford, the director and choreographer of the ‘Goddess Opera’ and are introduced to dancer Bianca Hyslop. The artists exchange skills and give rehearsal feedback. On their return journey, the artists visited colleagues in Australia at Deakin & Swinburne Universities in Melbourne.

The artists revamped their website, switching to a fully hosted Wordpress installation to enable higher quality imagery and video which now becomes much easier to update. Importantly, the new site is mobile friendly which recognises the dominance of mobile browsing. They began transitioning projects to the new system. The new setup includes stronger linking to their long running research blog, SPACE//PLACE//INTERFACE, which is filled with didactic materials, code snippets, links and tutorials.

March - May
Great Ormond Street Hospital Arts (GOSH Arts) invited Gibson and Martelli to undertake a creative research project to explore the potential and benefits of augmented reality and performance in the hospital setting, specifically working on Woodpecker, the pre-anaesthetics ward. The artists worked alongside Play and Nursing staff on the ward to explore their interactive sculpture ‘Huff & Puff’ with patients and their families. Patients were invited to experiment with a full sized ‘Huff & Puff’ in the ward play room, and were also given their own miniature ‘Huff & Puff’ to build their own interlocking sculpture which could then be activated using a free app. The free app revealed hidden augmented reality performances. Interaction with the sculpture prompted conversations and exchange between families and staff and supported patients and families to become more playful and relaxed during their wait. Alongside the clinical staff and GOSH Arts Ruth and Bruno continue to explore how both augmented and virtual reality can be used to support the Patient Journey to surgery and ease pre-anaesthetic anxiety.

In April the artists install ‘ExxWhyZee’ public artwork in the foyer of the new XYZ building in Manchester’s Spinningfields, the artists create a bespoke, site specific version of their monochromatic ‘MAN A” augmented reality art project. Taking the building’s name as inspiration the artists, weave contemporary dance into their practice, creating a series of performance pieces working along the X,Y, Z co-ordinates of Cartesian (3D) space, namely - in and out / up / down - which they then digitise and embed in a striking art work. The artwork stretches into the basement level, across the spiral staircase and bridge at the entrance of the building and the entirety of the foyer wall. Accessing the AR elements of the artwork, via the MAN A app, reveals a series of hidden artworks and performances that burst to life, including a 3 story figure that looms down upon you. The engaging piece demonstrates the potential of digital art for use in architecture or interior design. It is stunning, arresting and interactive.

Bruno took a version of the MAN A work overseas to China where he gave a talk at Chronus Arts Centre and shows the work at Shanghai Fashion Week - the ‘On Time Show’, holding a conversation on mediated reality, framing conventional VR/AR and motion capture technologies. Ruth delivers a workshop at Dance Fields ‘Welcome to our Field’ at Roehampton University. Her workshop opens up the research process of ‘Kinaesthetic Navigations, Kinaesthetic Stories’. She and Carol Brown, visiting on sabbatical, share movement research methods introducing the concepts of ‘We Are Here and We Are Everywhere at Once’ (WAHAWAEWAO) — 360 camera effects and dancing in Virtual Reality. The workshop opened up the themes of decolonisation, imagination, place and memory with practical movement classes.

Now Play This invited Gibson/Martelli to exhibit two works, MAN A VR and Huff & Puff at Somerset House — the exhibition comprised of forty different games digital and physical artworks. Now Play This was supported by Games London, Arts Council England, and Somerset House and British Council. Talks in the afternoon focussed on interaction and play in public spaces, encompassing fine art, architecture and curation.

May begins editing process and sound implementation for the film WAHAWAEWAO.

The artists gave a VR/AR lab presentation on their practical and theoretical approach, framed within a peer-to-peer environment at the Junction in Cambridge. Other sessions covered Unity software, HTC Vive, HoloLens, 360 video, use of sound and project workflow, balanced with theoretical talks on virtual, augmented and mixed reality by artists and industry partners in Cambridge.

June - August
The artists preview WAHAWAEWAO at their London studio to invited guests. Ruth is a delegate at Movement and Computing Conference, MOCO at Goldsmiths where she connects with performers, artists and academics. She also presents artwork at The Dance and Somatic Conference, Coventry University. Ruth is invited to Great Ormond Street Hospital under the supervision of anaesthetist Dr. Tim Liversedge to further her knowledge of the full ‘Patient Journey’ and to witness 5 operations. Ruth attends Digital Catapult’s Immersive Environments seminar for information on forthcoming grant opportunities.

September - November
Alongside various artworks opening around the globe, the artists begin a residency with Dr Susan Kozel. For this short project Gibson and Martelli were invited to the Black Box Studio at Inter Arts Centre, Malmö to join Susan in exploring the potential for ‘performing encryption’. They later write a joint article for the Transformations online journal. Hosted by the artists at their studio the ART//GAME//HACKATHON was an intensive workshop, which allowed artists, coders and technologists to team up, collaborate and develop prototypes of game art projects. This event was part of the ArtLicks weekend supported by Arts Council England. To end the year the artists present at ‘Weave’, PLATFORM in Dundee to students, artists and indie games companies following the NEon festival.

Workshops, Labs & Public Presentations:
VR UK Ravensbourne
VR Fest - an evening of talks and presentations with an emphasis on digital media and VR (Dec 2)
Error Network - Symposium University of Leeds (Dec 7)
CAC Lab in Shanghai (April 7)
Now Play This - Evening Talk, Somerset House (April 8)
Welcome to our field Dance Fields Conference, Roehampton University (April 17)
Collusion VR/AR lab presentation Cambridge (May 16)
The Unquiet Landscape: VR Techniques in the Art of Gibson/Martelli, VRUK Ravensbourne (July 6)
Artist Talk Pah Homestead via link (August 18)
A Data Journey - DRHA: Digital Research in the Humanities and Arts - Plymouth University (September 10-13)
Performing Encryption, Strategies of Ambiguity resident at Inter Arts Centre Black Box Studio Malmö, Sweden (Oct 9-14)
Weave, PLATFORM (Nov 15)

Professional Development and Publications
Residencies have taken place this year in China at Museum of Modern Art and CAC Shanghai, GOSH ARTS Great Ormond Street Hospital, London, Inter Arts Centre Malmö, Sweden
Exhibition Catalogue: We Are Here And EveryWhere at Once
The Weird Giggle: Attending to Affect in Virtual Reality Transformations online Journal

Funding Awards & Applications
AHRC/EPSRC - Next Generation Immersive Experiences Call (successful)
Performance Arcade - Wellington Feb March 2018 (successful)
Alt.Barbican Commission (unsuccessful)
ArtAngel Commission (unsuccessful)
CAC Residency, China (unsuccessful)
Collusion, Public art commission (unsuccessful)
Wysing Arts Residency application (unsuccessful)

Commissions
We Are Here And We Are Everywhere At Once - University of Auckland International Research Collaboration Funding
Huff & Puff - Great Ormond Street Hospital
Reality Remix - Arts and Humanities Research Council (AHRC) and Engineering and Sciences Research Council (EPSRC)

Website Content:
Gibson/Martelli New website
Space//Place//Interface Gibson/Martelli research blog.

Software:
MAN A VR (HTC, Oculus version)

Public Benefit Statement
This year has seen the artists gain audiences at home and farther afield. Their international links has led to body of work for a variety of exhibitions. The technological learning pathway they pursue is being shared with the general public through workshops, laboratories, presentations, conferences & hackathons. The artists work continues to generate new knowledge — cited in numerous publications and articles, both for general public and aimed at academics. We continue to promote art appreciation to the wider public with exhibitions, previews and talks. All events have been well attended and have taken place in public venues whether they are conferences, Higher Education Institutes or art galleries.

Plans for future periods
We continually apply for ever decreasing funds for the arts and because the current political climate continues to be both precarious and uncertain, these funding schemes are becoming even more competitive. Ruth & Bruno have therefore had to diversify their search and look towards specific galleries and residencies for commissions. They have cultivated relationships that strengthen ties with these galleries. They also have targeted trusts and foundations to research and begin new projects and forged links within their community through Salons and Hackathons which have begun to increase both their audiences and peers. Their work has longevity — for example MAN A continues to tour and will be in China next year, again with the Barbican’s Digital Revolution exhibition.

Next year the directors look to exhibit The Bronze Key which has developed out of their residency Performing Encryption at InterArts Malmö. The Reality Remix project will bring international artists from overseas to the UK for three Salons in Dundee, Coventry and London. The artists will collaborate and investigate Next Generation of Immersive Experiences. 2018 looks to be an exciting year for igloo artists as Reality Remix aims to create a networks and partnerships with The British Council, Ravensbourne University, Abertay University and Siobhan Davies Dance. Also We Are Here And We Are Everywhere At Once will be exhibited as a part of Performance Arcade in Wellington, NZ and come to London the Spring.

Reference and administrative details
Company number: 06014730 Charity number: 1124325 Principle office: Unit 301, 449 Bethnal Green Road, London E2 9PH
Our advisors
Independent examiner
Nik Fisher FCCA Simia Wall
Bankers
NatWest plc, Aldgate Branch, PO Box 10863 130 Whitechapel High Street, London E1 7PY

Directors
The following persons served as directors and trustees during the year:

	Colm Lally
	David Surman


Structure, Governance and Management
Constitution of the Charity
The charity was incorporated as a company limited by guarantee without a share capital. The registered company number is 6014730 and the registered charity number is 1124325. The charity’s trustees have complied with the duty in Section 4 of the Charities Act 2006 to have due regard to guidance published by the Charity Commission regarding the public benefit test.

●	so far as he is aware, there is no relevant information of which the company's examiner is unaware; and
●	he has taken all the steps that he ought to have taken as a director in order to make himself aware of any relevant information and to establish that the company's examiner is aware of that information.

Organisational Structure and Governance
MEMORANDUM AND ARTICLES OF ASSOCIATION INCORPORATED 30 NOVEMBER 2006 AS AMENDED BY SPECIAL RESOLUTION 21 APRIL 2008. It is a registered charity with the Charity Commission.

Reserves policy
Igloo Artists Limited is an organisation which was founded without any assets. The factors we considered in determining what reserves we require were: • the unpredictable nature of our income, • our very low level of fixed-costs (we don’t employ staff or pay rent on premises), • and our ability to control expenditure on activities. The Board of Trustees have agreed the appropriate level of reserves should be the annual costs of meeting our statutory requirements (accountancy and administration costs) plus a contingency for any professional fees, should the charity need to be wound-up. We calculate these costs to be £3,000. Currently we hold reserves total and unrestricted reserves of £3,182. .

Transactions and financial position

The financial statements are set out on pages 10 to 14. The financial statements have been prepared implementing the Statement of Recommended Practice for Accounting and Reporting by Charities issued by the Charity Commission for England and Wales and in accordance with the Financial Reporting Standard for Smaller Entities (effective January 2015). The trustees confirm that the charity’s assets are available and adequate to fulfil its obligations. The Statement of Financial Activities show net outgoing resources for the year of a revenue nature of £1,071. The total reserves at the year end stand at £3,182 A majority of the expenditure is spent on charitable activities.

Risk assessment

SORP 2005 requires trustees to set a framework to identify and respond to risk and to provide a methodology for risk management and its reporting. The risks considered relate to the operational performance of the charity and the achievement of its aims and objectives and are summarised as governance risks, operational risks, financial risks, external risks and compliance with law and regulations.

The trustees confirm that the risks to which they believe the charity is exposed as identified by the trustees, have been reviewed and that systems have been established to mitigate those risks. In order to identify relevant risks and appropriate controls the following matters were considered:-
		- the charity’s objectives and strategies;
		- the nature and scope of the charity’s activities;
		- external legislation and regulations;
		- the operating structure of the charity; and
		- comparison with other similar size charities or working in the same sector.

Statement of Directors’ and Trustees’ Responsibilities

The charity Trustees (who are also directors of Igloo Artists Ltd for the purposes of company law) are responsible for preparing the Annual Report and the financial statements in accordance with applicable law and regulations.

Company law requires the Trustees to prepare financial statements for each financial year. Under that law the Trustees have elected to prepare the financial statements in accordance with United Kingdom Generally Accepted Accounting Practice (United Kingdom Accounting Standards and applicable law). The financial statements are required to give a true and fair view of the state of affairs of the charitable company and of the profit or loss of the company for that period. In preparing the financial statements the Trustees are required to:-

	• select suitable accounting policies and then apply them consistently;
	• observe the methods and principle in the Charities SORP
	• make judgements and estimates that are reasonable and prudent; and
	• prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business.
	• state whether applicable accounting standards and statements of recommended practice have been followed, subject to any material departures disclosed and explained in the financial statements;

The Trustees are responsible for keeping proper accounting records that disclose, with reasonable accuracy at any time, the financial position of the charitable company and that enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Small company provisions
This report has been prepared in accordance with the provisions in Part 15 of the Companies Act 2006 applicable to companies subject to the small companies regime.

This report was approved by the board on 19 September 2018 and signed on its behalf.



Colm Lally
Director

Igloo Artists Limited
Independent Examiner’s Report to the trustees of the charity

I report on the accounts of the company for the year ended 30th November 2017 which are set out on pages 10 to 14.

This report is made solely to the trustees, as a body, in accordance with the regulations made under Section 154 of the Charities Act 2011. My work has been undertaken so that I might state to the charitable company’s trustees those matters I am required to state to them in an independent examiner’s report and for no other purpose. To the fullest extent permitted by law, I do not accept or assume responsibility to anyone other than the charitable company and the charitable company’s trustees, as a body, for my work, for this report, or for the opinions I have formed.

Respective responsibilities of trustees and examiner

The trustees (who are also directors of the charitable company for the purposes of company law) are responsible for the preparation of the accounts. The trustees consider that an audit is not required for this year under section 145(3) of the Charities Act 2011 (the Act) and that an independent examination is needed. Having satisfied myself that the charitable company is not subject to audit under company law and is eligible for independent examination, it is my responsibility to:

• examine the accounts under section 145(1)(a) of the Act; • to follow the procedures laid down the General Directions given by the Charity Commission under section 145(5)(b) of the Act; and • to state whether particular matters have come to my attention.

Basis of Independent Examiner’s report

My examination was carried out in accordance with the general Directions given by the Charity Commission. An examination includes a review of accounting records kept by the charity and a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from you as trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit and consequently no opinion is given as to whether the accounts present a ’true and fair view’ and the report is limited to those matters set out in the statement below.

Independent Examiner’s Statement

In connection with my examination, no matter has come to my attention: 1) which gives me reasonable cause to believe that in any material respect the requirements (i) to keep accounting records in accordance with section 386 of the Companies Act 2006; (ii) to prepare accounts which accord with the accounting records and comply with the accounting requirements of section 396 of the Companies Act 2006 and with the methods and principles of the Statement of Recommended Practice: Accounting and Reporting by Charities; have not been met; or

2) to which, in my opinion, attention should be drawn in my report in order to enable a proper understanding of the accounts to be reached;

Nik Fisher FCCA
Simia Wall
Chartered Accountants

Sir Robert Peel House
178 Bishopsgate
London
EC2M 4NJ

19 September 2018

Igloo Artists Limited
Statement of Financial Activities (incoporating an Income and Expenditure account)
for the year ended 30 November 2017
Unrestricted		Restricted	Total
funds		funds	funds
Notes	2017	2017	2017		2016
£		£	£	£
Income and endowments from:

Charitiable activities	22,022	-	22,022		18,240


Total	22,022	-	22,022		18,240

Charitable activities	19,157	-	19,157		19,957
Other	3,936	-	3,936		2,206

Total	23,093	-	23,093		22,163


Net (expenditure)	(1,071)	-	(1,071)		(3,923)

Reconciliation of funds

Total funds brought forward	4,253	-	4,253		8,176

Total funds carried forward	3,182	-	3,182		4,253




The net movement in funds referred to above is the net incoming resources as defined in the Statement of Recommended Practice for Accounting and Reporting issued by the Charity Commission for England & Wales and is reconciled to the total funds as shown in the Balance Sheet on page 11 as required by the said statement.

All activities derive from continuing operations

Igloo Artists Limited
Registered number:		06014730
Balance Sheet
as at 30 November 2017

Notes			2017			2016
£				£
Current assets
Cash at bank and in hand		4,767			4,793

Creditors: amounts falling due within one year	5	(1,585)			(540)

Net current assets			3,182			4,253

Net assets			3,182			4,253

Capital and reserves
Profit and loss account			3,182			4,253

Shareholders' funds			3,182			4,253

The directors are satisfied that the company is entitled to exemption from the requirement to obtain an audit under section 477 of the Companies Act 2006.
The members have not required the company to obtain an audit in accordance with section 476 of the Act.
The directors acknowledge their responsibilities for complying with the requirements of the Companies Act 2006 with respect to accounting records and the preparation of accounts.
The accounts have been prepared and delivered in accordance with the special provisions applicable to companies subject to the small companies regime. The profit and loss account has not been delivered to the Registrar of Companies.




Colm Lally
Director
Approved by the board on 19 September 2018

Igloo Artists Limited
Notes to the Accounts
for the year ended 30 November 2017

1	Accounting policies

	Basis of preparation
	The accounts have been prepared under the historical cost convention and in accordance with the Financial Reporting Standard for Smaller Entities (effective January 2015) as modified by the Statement of Recommended Practice for Accounting and Reporting issued by the Charity Commissioners for England & Wales. The accounts have been drawn up in accordance with the provisions of the Charities Acts and the Companies Acts, and include the results of the charity’s operations which are described in the Trustees’ Report, all of which are continuing.

	Incoming resources
	Grants and donations are recognised where there is entitlement, certainty of receipt and the amount can be measured with sufficient reliability. Deferred income represents amounts received for future periods and is released to incoming sources in the period for which it has been received. Such income is only deferred when the donor specifies that the donation must only be used in future accounting periods or the donor has imposed conditions which must be met before the charity has unconditional entitlement. Investment income is recognised on a receivable basis.

	Resources expended
	Liabilities are recognised on the accruals basis in accordance with normal accounting principles, modified where necessary in accordance with the guidance given in the Statement of Recommended Practice for Accounting and Reporting issued by the Charity Commissioners for England & Wales. Charitable activities Charitable expenditure comprises those costs incurred by the charity in the delivery of its activities and services for its beneficiaries. It includes both costs that can be allocated directly to such activities and those costs of an indirect nature necessary to support them. Governance costs Governance costs include costs of the preparation and examination of the statutory accounts, the costs of trustee meetings and the cost of any legal advice to trustees on governance or constitutional matters.

	Cash flow statement
	The charity has taken advantage of the exemption applicable to small companies and not produced a cash flow statement.

	Taxation
	As a registered charity, the company is exempt from income and corporation tax to the extent that its income and gains are applicable to charitable purposes only.

2	Trustees remuneration and expenses

	No remuneration or benefits were paid to trustees or persons connected with them during the year.


3	Income	Unrestricted funds		Total funds
		2017		2017		2016
£			£		£

	Venue fees ands studio hires	1,799		1,799		1,800
	Sales	604		604		900
	Artist fees	19,619		19,619		15,540
		22,022		22,022		18,240



4	Expenditure	2017		2017		2016
£			£		£
a	Costs of charitable activities

	Artists fees	11,360		11,360		7,340
	Production costs	1,550		1,550		7,024
	Travel	3,187		3,187		3,782
	Other costs	3,060		3,060		1,811

		19,157		19,157		19,957

b	Governance costs
	Bank charges	10		10		60
	Legal and professional fees	-		-		1,606
	Rent and water rates	3,416		3,416		-
	Examination and accountancy	510		510		540

		3,936		3,936		2,206



5	Creditors: amounts falling due within one year			2017		2016
£					£

	Accruals			1,585		540


6	Analysis of the Net movement in funds			2017
£

	At 1 December 2016			4,253
	Net movement in funds from Statement of Financial Activities			(1,071)

	At 30 November 2017			3,182


7	Related party transactions

	There were no related party transactions during the year.