Private clients Financial intermediaries

Become a client

Are you a client? You should contact your private banker. 
You are not a client but would like to have more information about Societe Generale Private Banking? Please fill in the form below.

Local contacts

France : +33 (0) 1 42 14 20 00 (9am - 5pm)
Luxembourg : +352 47 93 11 1 (8:30am - 6pm)
Monaco : +377 97 97 58 00 (9/12am - 2/5pm)
Switzerland : Geneva +41 22 819 02 02
& Zurich +41 44 218 56 11 (8:30am - 5:30pm)

You would like to contact about the protection of your personal data?

Please contact the Data Protection Officer of Societe Generale Private Banking France by sending an email to the following address : protectiondesdonnees@societegenerale.fr.

Please contact Bieneke Russon, the Data Protection Officer of Societe Generale Bank & Trust Luxembourg by phone : +352-47.93.93.11.5046 or by sending an email to the following address : lux.dpooffice@socgen.com.

Please contact Julien Garnier, the Data Protection Officer of Societe Generale Private Banking Monaco by sending an email to the following address : list.mon-privmonaco-dpo@socgen.com

Please contact Omar Otmani, the Data Protection Officer of Societe Generale Private Banking Switzerland by sending an email to the following address : sgpb-gdpr.ch@socgen.com.

You need to make a claim?

 Any claim addressed to Societe Generale Private Banking France should be sent by e-mail to the following address : FR-SGPB-Relations-Clients@socgen.com or by mail to : 

Société Générale Private Banking France
Direction Commerciale
29 boulevard Haussmann CS 614
75421 Paris Cedex 9

The Bank will acknowledge your request within 10 days after receipt and provide a response to your claim within 60 days of receipt. If your request requires additional processing time (e.g. if it involves complex researches…), the Bank will inform you by mail. 

In the event that the response you receive does not meet your expectations, we suggest to contact : 

 

The Societe Generale Group’s Ombudsman

The Societe Generale Group’s Ombudsman can be contacted by the following website : mediateur.societegenerale.fr  or by mail :

Le Médiateur auprès de Société Générale
17 Cours Valmy 
92987 PARIS LA DEFENSE CEDEX 7
France

In reviewing any matter, the Ombudsman undertakes the consideration of both the client’s and the bank’s point of view, evaluates arguments from each of the parties and makes a decision in all fairness.

The Group’s Ombudsman will respond to you directly within two months of receipt of the written submissions of the parties relating to the claim.

 

The Ombudsman of the AMF

The Ombudsman of the Autorité des Marchés Financiers (AMF) can be contacted at the following address :

Médiateur de l'AMF, Autorité des Marchés Financier
17 place de la Bourse
75082 PARIS CEDEX 02
FRANCE


The Insurance Ombudsman

Please contact the Insurance Ombudsman : contact details must be mentioned in your insurance contract.

To ensure that your requests are handled effectively, any claim addressed to Societe Generale Bank & Trust should be sent to:

Private banking Claims department
11, Avenue Emile Reuter
L-2420 Luxembourg

The Bank will acknowledge your request within 10 days and provide a response to your claim within 30 days of receipt. If your request requires additional processing time (e.g. if it involves complex research), the Bank will inform you of this situation within the same 30-day timeframe.

In the event that the response you receive does not meet your expectations, we suggest the following :

Initially, you may wish to contact the SGBT Division responsible for handling claims, at the following address:

Corporate Secretariat of Societe Generale Bank & Trust
11, Avenue Emile Reuter
L-2420 Luxembourg

If the response from the Division responsible for claims does not resolve the claim, you may wish to contact Societe Generale Bank & Trust's supervisory authority, the Commission de Surveillance du Secteur Financier (Financial Sector Supervisory Commission) :

By mail: 283, Route d’Arlon L-1150 Luxembourg
By e-mail:direction@cssf.lu

 Any claim addressed to Societe Generale Private Banking Monaco should be sent by e-mail to the following address: servicequalite.privmonaco@socgen.com or by mail to our dedicated department : 

Societe Generale Private Banking Monaco
Middle Office – Service Réclamation 
11 avenue de Grande Bretagne
98000 Monaco

The Bank will acknowledge your request within 2 days after receipt and provide a response to your claim within 10 days of receipt. If your request requires additional processing time (e.g. if it involves complex researches…), the Bank will inform you of this situation within the same 30-day timeframe. 

In the event that the response you receive does not meet your expectations, we suggest to contact the Societe Generale Private Banking Direction that handles the claims by mail at the following address : 

Secrétariat Général de Societe Generale Private Banking Monaco 
11 avenue de Grande Bretagne 
98000 Monaco

Any claim addressed to the Bank can be sent by email to: sgpb-reclamations.ch@socgen.com
Clients may also contact the Swiss Banking Ombudsman : www.bankingombudsman.ch

Ceramics: an art on fire

Arty - A subtle blend of cultures - Ceramic is an essential medium today. Come back or continuation?

Untitled ceramic by Kristin McKirdy, in enamelled ceramic, 2021.

For a decade, ceramics have been experiencing a new golden age. Beyond the interplay of fashions and infl uences, which regularly cycle back forms once thought forgotten, how do we explain its success in contemporary art?

In 2010, curator Nicolas Trembley exhibited his collection of German ceramic vases from the 1970s in Geneva. This collection, bought cheaply on eBay, had suddenly become newsworthy and was even described in Artforum magazine as “the very apotheosis of the meeting between high and low”. In 2016, the exhibition Ceramix drove the point home in Maastricht and Paris, with its wide selection of more than 250 pieces. And this trans historical art is now well established in the pantheon of contemporary art, as recently shown by the exhibitions Ettore Sottsass The Magic Object at the Pompidou Centre (with in particular, a series of monumental ceramic totems produced in 1969) and Flames at the Paris Museum of Modern Art, itself an ambitious show organised around the techniques, uses and messages of ceramics.

“ It’s a medium that not so long ago was thought of as old-fashioned, but has now become essential once more ”

Thomas Bernard

A medium of experience

The term “ceramic”, is from the Greek keramos, meaning clay. This technique of shaping and fi ring clay fi rst appeared in the Neolithic period (6000-2500 BC approx.), serving multiple uses: making idols, various containers, even housing. This versatility still defi nes it, since ceramic is very much alive in the worlds of craft smanship, design and art. This craft smanship, has a long history and tradition around the world. On the design side, the Bauhaus school in Germany in the 1920s and Russian constructivism from the 1910s seized on ceramics as a way of transforming the material conditions of daily life. Today, ceramics is still heavily invested in by artists themselves, who remain faithful to it as a medium. While Elsa Sahal, Grayson Perry, Johan Creten or Natsuko Uchino work almost exclusively in ceramics, many artists try their hand at it upon invitation or at residencies. Thus, when Mimosa Echard created Purple Dose (2018), commissioned by a public maternity hospital in Geneva, she worked with the Swiss artist and ceramist Christian Gonzenbach and transposed the principle of production of her large wall paintings onto this medium. When Denis Savary began a collaboration with the Sicilian factory Ceramiche Fratantoni in 2017, it was the logical continuation of  his sculpture pieces, that now involve ceramic artisans systematically. If ceramics now seem to be an obligatory “rite of passage” in the art world, it has also become a sculptural medium in its own right, as evidenced by the recent works of Rosemarie Trockel, Thomas Schütte or Ai Weiwei. However, it is rare for artists to embark on this adventure on their own: they are generally accompanied by collaborators in specialised workshops, following the example of Picasso’s iconic collaboration with the Madoura workshop in Vallauris.

Ceramic by Emaux de Longwy. Capsule collection, summer 2021, conceived by Anthony Vaccarello, artistic director of the Saint Laurent house.
Oki by Ken Price Xavier Hufkens collection’s, Brussels (Belgium), 2007.
Chinzalée Sonami, creator of Pala ceramics, in his workshop in Oakland (United States).

A come-back?

Can we really talk about the return of ceramics as a go-to medium? The use of this material in sculpture dates from the modern era. Jean Carriès, Matisse or Rodin preceded Picasso and very early on developed “ceramic-sculpture” (the term is from Gauguin, who from 1886 worked in sandstone in the Parisian studio of Ernest Chaplet). The history of the avant-garde shows ceramics’ continued presence as a medium, from the Fauves (pictorial movement born in 1905) to the Surrealists (literary and artistic movement defi ned by André Breton in 1924) via the Futurists (European literary and artistic movement of the 1920s), who revisited everyday objects, such as in the works of Fortunato Depero or Giacomo Balla. From the 1930s, it was the proponents of informal art who experimented with the fi eld of ceramics. Lucio Fontana collaborated with the Mazzotti factory (which was already working with the Futurists), in Albisola, Italy. Far from the traditions of pottery, he developed an ambitious body of sculpture. In 1954, Karel Appel and Asger Jorn, from the Cobra group, settled in Albisola, a seaside resort on the Ligurian coast and worked with terracotta in all its forms, from the abstract to the fi gurative. The city remains a privileged location for those who are interested in this domain. The story continues in the 1950s and 1960s in California, where artists like Ken Price, Robert Arneson, Peter Voulkos, or his student Ron Nagle invented new uses for the material, with expressionist, pop or comic forms, which infl uenced entire generations. Then began a long eclipse where ceramics fell out of favour.

“ Ceramics reveal a specific concern of our times ”

Vincent Pecoil

This ended about ten years ago and since then the medium of ceramic has gone from strength to strength, even in the studios of art schools. Indeed, it allows for considerable experimentation in shape and enamelling, and is relatively easy to work with, even for those artists who are technical novices. Moreover, few artists have their own kiln and therefore tend to work in shared workshops, thus building a more collective environment of exchange. This success can also be interpreted as the reaction of the post-internet generation, articulating a refusal of the purely digital and a reaff irmation of the physical.

Sanders by Tony Cragg for the «Les Extatiques» exhibition on the parvis de La Défence in Paris (France), 2021.

A durable material

Finally, ceramic is a durable and therefore environmentally friendly material. For Vincent Pécoil, former gallery owner and current director of FRAC Normandie, the fashion for ceramics is thus “of a concern specific to our time, and participates in a predilection for forms and especially traditional materials perceived as a possible alternative to the modes of production which threaten our civilisation by causing all the upheavals that we know: climate change, depletion of resources, and environmental damage.” At an institutional level, in museums and other public art centres, interest in ceramics is part of a movement reassessing and revaluing minor arts and minority histories.

View of Elsa Sahal’s exhibition, Homage to Jambes Arp at the Galerie Papillon in Paris (France), 2021.

... An expanding market

Ceramics is no longer a niche market. For Thomas Bernard, gallery owner in Paris, it now enjoys very special attention, and the most important galleries defend this medium enthusiastically. Artists like Phyllida Barlow or Grayson Perry have caused prices to explode. We can also cite certain very small-format pieces such as those by Ron Nagle, which did not fi nd a buyer at auction in the 1990s, or at prices of around 3,000 euros, that are now selling, in galleries as well as in auction houses at around 50,000 euros per piece. At the same time, prices like those of Kristin McKirdy remain moderately valued: there are still pieces at auction for less than 5,000 euros. This is also the case for pieces by Martine Bedin and Nathalie Du Pasquier, of the Memphis group from the 1980s. Are there signs that the ceramics market, although expanding, remains more accessible than that of contemporary art? The fact remains that, as Thomas Bernard points out, the previous concern of collectors and institutions about the fragility of the medium and the problems of storage and circulation have generally subsided: “institutions currently perceive ceramics as an extraordinary medium. It is an ecosystem that is rehabilitating a medium perceived not so long ago as old-fashioned, and which has now become essential once more.

Text

Jill Gasparina
Jill Gasparina was born in 1981.
She is a critic and freelance curator,
and teaches at the Geneva University of Art and Design (HEAD).