for the Period Ended 31 March 2025
| Balance sheet | |
| Additional notes | |
| Balance sheet notes | |
| Community Interest Report |
As at
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| Current assets | |||
| Cash at bank and in hand: |
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| Total current assets: |
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| Creditors: amounts falling due within one year: | 3 |
(
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| Net current assets (liabilities): |
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| Total assets less current liabilities: |
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| Total net assets (liabilities): |
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| Members' funds | |||
| Profit and loss account: |
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| Total members' funds: |
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The notes form part of these financial statements
The directors have chosen not to file a copy of the company's profit and loss account.
This report was approved by the board of directors on
and signed on behalf of the board by:
Name:
Status: Director
The notes form part of these financial statements
for the Period Ended 31 March 2025
Basis of measurement and preparation
for the Period Ended 31 March 2025
| 2025 | 2024 | |
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| Average number of employees during the period |
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for the Period Ended 31 March 2025
| 2025 | 2024 | |
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| £ | £ | |
| Accruals and deferred income |
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| Other creditors |
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During our fourth financial year (2024-2025), Black Curators Collective CIC (BCC) focused on organisational development and continuing professional development for members. As consultants, we finished delivering a key curatorial project called ‘Assembly Black Country: Black Box’ in collaboration with a-n The Artists Information Company and the arts charity, Hospital Rooms. Assembly Black Country: Black Box explores notions of access through ‘teach-in’ workshops, screenings and discussions with art workers from across the Black Country, an area with limited contemporary visual arts infrastructure. Black Box refers to Black Curators Collective’s takeover of arts organisations and BCC’s approach to programming. Drawing on the concept and function of self-contained systems, Black Box aims to protect ideas and labour by Black creatives from institutional co-option, dilution and tokenism. Over three days in July 2024, we programmed online and in-person activity, with artists, art workers and collaborators including: Kadampa Buddhist Meditation Centre, Christopher Samuel, Rachel Fleming-Mulford, Anneka French, Sophie Huckfield, Sahjan Kooner, Helen Cammock, members of the Black Curators Collective (BCC), Roo Dhissou, Jess Piette, Mattie Hartley, Nicky Mountford, Marley Starskey Butler, and the team at Sandwell Child and Adolescent Mental Health Services (CAMHS).
The company’s stakeholders are our membership/collective of black women and non-binary curators, including those not part of BCC, working in the UK. The company’s director, also a member, identifies as a black, non-binary curator. During our regular and general meetings, we have asked everyone to provide verbal feedback about the importance of the space. One of our members shared: ‘’I am very excited that the collective will move forward ‘organically’ and that we will continue to grow and learn together in this safe and inspiring space.’’ Members have been advocating for an operating pace that continues to support the emotional well-being of members, as well as a slower, gentler, and more flexible pace for our meetings. We have removed the pressure to be overly active and slowed down after the a-n Assembly event by hosting fewer monthly forum meetings, allowing people to rest and recover.
No remuneration was received
No transfer of assets other than for full consideration
This report was approved by the board of directors on
23 November 2025
And signed on behalf of the board by:
Name: Jade Foster
Status: Director