ArtisDomus

Cultural strategy

Practice · Luxury and brands

The practice writes down what a house will not support.

ArtisDomus, the practice of Polina Surina, advises luxury houses and groups on cultural strategy, artist collaborations and how to structure partnerships. It works in Paris, Malta, the United Kingdom, Qatar and the Gulf, and only the owner pays its fee. A house that supports ten things for ten reasons has a philanthropy budget. A house that supports ten things for one reason has a cultural position.

Published by ArtisDomus, written by Polina Surina.

The work is to write that one reason down, then to say what it rules out. Without a list of exclusions, a marketing team can defend the spending for years while nobody can say what the house stands for in culture.

01/05
A painting of coiling pale forms and long hair, worked in fine detail in flesh tones.
Pl. 01 Benjamin Spiers. The Dreamer, 2024. Oil on linen, 45 × 40 cm.

The question

We fund a dozen cultural things and I cannot explain why.

A senior person usually says this, someone who could stop the spending and does not want to. Each item on the list made sense on the day it was agreed: a prize, a fair, a commission, a residency, a museum wing. None of them is wrong. Together they do not add up to a position.

The problem lies in how the list was built. Each commitment was judged on its own merits, and the house had no position to weigh it against. So the eleventh decision has nothing to be measured by. A house in that state cannot say no without looking philistine, so the list keeps growing.

The work starts with a written statement: what the house stands for in culture, which institutions it belongs beside, and what it will not support.

02/05

Method

Choosing is easy once the exclusions are written down.

  1. Read the owner and the place. Who owns it, who it is for, and which people will be in the room.
  2. Map the field. Museums, foundations, collectors, galleries and artists who can carry the project.
  3. Write the thesis. What the collection has to say, and what has to be excluded in order to say it.
  4. Place each work. Every work has a position and a stated reason for that position.
  5. Programme and activate. A collection earns its keep through what happens around it.

Here the third step matters most, and the hard part is the exclusions. The line that says what the house will not support makes the rest clear. It is also the line a committee most wants to leave out.

The practice takes no commission from galleries and keeps no discounts. Any terms it negotiates for the owner pass to the owner in full and are disclosed in writing.

03/05

Case study

A restaurant collection, renewed the following year for a brand activation.

AKI, One Cavendish Square, London, is a restaurant in a Grade II listed former banking hall. ArtisDomus directed and co-curated its collection, including works commissioned for the site. Nine works were chosen from roughly one hundred candidates.

The engagement was renewed the following year for a brand activation. That is the moment a collection starts to speak for the house.

The same project also appears under real estate and hospitality.

04/05

In this area

Eight entries in this area

Who pays droit de suite when a work is resold in France? · Reference

Who issues an export licence for a work leaving Belgium · Reference

Glossary: Luxury and brands · Glossary

Droit de suite: the French resale royalty the seller bears · Glossary

Mécénat or parrainage: how a French company funds culture · Reference

VAT on a work of art bought in a French gallery · Reference

When a commissioned work disappoints: your rights · Reference

Who owns the copyright in a commissioned artwork? · Reference

05/05