Capital for culture, structured to return.
The Ori House works with banks, development finance institutions, foundations, brands, municipalities and collectors to fund programs that produce landmarks, livelihoods and returns. Our first program brought multiple banks together to put the first Black woman on the Giza plateau at Art D’Égypte. The next ones are being structured now. If you fund culture, this is the door.
Banks & development finance
What you fund: Program finance for commissions, installations and residencies, structured as a dedicated vehicle per program.
What comes back: Returns from artwork sales, leases and licensing on a defined waterfall; cultural-impact reporting; association with landmark work.
Foundations & public bodies
What you fund: Residencies, community programming, permanent installations — like the proposed Ori House chapel gallery in Barreiro.
What comes back: Civic cultural infrastructure, measurable community participation, press, a permanent collection.
Brands & hospitality
What you fund: Sponsorship, materials, venue, and the cultural premium model.
What comes back: Audience, content, co-branded activations, revenue share on ticketed programming.
Collectors
What you fund: Acquisition and leasing of works produced inside programs.
What comes back: Early access to the collective; works with provenance in landmark programs; invitation-only collecting.
What a program looks like
A dedicated vehicle for each program, with named backers and a written return waterfall.
A production budget — artist fees, materials, transport, insurance, installation — funded before a single work is made.
Five return lines: sales and leases, ticketed activations, hospitality premiums, brand and licensing, documentation and IP.
Reporting on what was produced, what returned, and what was reinvested.
Artists as stakeholders throughout, under the Artist Charter.
We would rather have one conversation than send one deck. Tell us who you are and we’ll bring the program that fits.