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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

"The physical encounter with the object provides an irreplaceable experience” – Meet gallery owner Kamel Mennour

Selecting artists, encountering artworks, Covid impact, digitalization, artistic vitality of Paris... A very complete interview, between the gallery owner Kamel Mennour and our expert Laurent Issaurat, Head of Art Banking Services at Societe Generale Private Banking.

Laurent Issaurat: Kamel, can you tell us about your personal trajectory?

Kamel Mennour: Very early on, I knew that my life had to be in the art world. Things started to take a turn when, in parallel to my economic studies at the Sorbonne, I started to sell lithographs and small paintings with a student friend, essentially decorative, to work councils. Together, we criss-crossed France, from Angoulême to Illkirch, via the large companies installed in La Défense. This tremendously enriching experience reinforced my desire to go further in this direction. One thing led to another, and while most of my classmates were going into auditing, consulting or finance, I opened my first gallery on rue Mazarine in 1999. It was the beginning of a great adventure.

Laurent Issaurat: What is the guideline of your gallery?

Kammel Mennour: This is not a simple question, but I will try to answer! First of all, intuition has always played a key role. When an artist is for our gallery, I feel it, in an irrepressible way. I think for example of Ymane Chabi-Gara. While we now work mainly with very established artists, I discovered the work of this particularly young, but so singular, artist during the Covid period; my desire to showcase her work came to me as a kind of evidence. On the other hand, in the practice of the artists of the gallery, there is, in my opinion, a common point, which is rigor, both plastic and conceptual. It is this absolute demand for rigor that is essential to establish the credibility of the artists with the institutions of the art world, with whom we maintain a constant dialogue, and of course, with collectors. Another specificity is that I have always had at heart to create bridges between young artists that we have supported to highlight their very strong potential, and major artists of the international scene, confirmed for decades. We have thus constituted a family of artists, of all generations, who, together, participate in a spirit, in a form of coherence. I would add that, for some time now, we have been interested in bringing artists from the gallery into conversation with historical creators who have passed on to posterity, as for example last year with the sumptuous "Face à Face" between Louise Nevelson, a masterful Ukrainian-American sculptor born in 1899, and Alicja Kwade, a young German-Polish artist born almost a century later, in 1979.

Laurent Issaurat: Your programming reflects this identity particularly well, doesn't it?

Kamel Mennour: Absolutely, we are fortunate to have four spaces in Paris, which allow us to illustrate everything I just mentioned, sometimes simultaneously. So, for example, as we speak, we are dedicating a solo show(1) to Latifa Echakhch in our first space on the rue du Pont de Lodi. In parallel, we dedicate a quasi-museum exhibition to Judit Reigl (1923-2020) in our second space on the same street, while the group exhibition "Soudain dans la forêt profonde" unfolds on two sites, avenue Matignon and rue Saint André des Arts, around a firework display of contemporary artists, but also of works by Courbet or Eugène Carrière, an artist of the 19th century. We will show the latter’s immense contribution to the art of the beginning of the 20th century, and in particular how his work influenced Picasso.

Laurent Issaurat: Has the pandemic had a lasting effect on the way you work, as a gallery owner?

Kamel Mennour: Yes, there have been structural changes. Like many galleries, we have profoundly changed the way we work: fewer fairs, more digitalization of works. The artists have helped us a lot in this sense. Let's take the example of a painting by Zao Wou Ki, which we have in the gallery; its value is several million euros; in the context of the growing place of digital in our activities, it is likely to be sold to a buyer who will commit without necessarily having seen the work directly. This is possible, of course, only for top artists, whose works are offered by well identified, serious and reputable galleries. In a word, with the pandemic, the phenomenon of digitalization of the market has accelerated and taken an unprecedented scale.

Laurent Issaurat: Under these conditions, is there still a point in having a physical exhibition space for a gallery?

Kammel Mennour: Yes, absolutely. Exhibitions reflect the DNA of our gallery and are crucial in showcasing the work of our artists. More generally, the physical encounter with the work provides an irreplaceable experience. To take the example of the Zao Wou Ki painting I just mentioned, if it is possible to make an informed choice of acquisition on the basis of the visuals sent by the gallery, it is certain that the physical, direct encounter with the work is essential to perceive all the power, the nuances, the musicality, the sonority, the volutes, impossible to perceive without having the work in front of you. The person who would buy this painting via Internet, when they would receive it physically, would be extremely pleasantly surprised, because the reality of this painting is much more powerful than its digital "visual".

Laurent Issaurat: Do you have an opinion on digital art and NFTs(2)?

Kamel Mennour: For a long time, some of our artists, have incorporated the most innovative technologies, for example, through video or installations, but none of them, I think, would like to see their practice confined to a single category, which would be far too reductive, and I share this vision. Regarding NFTs as such, what is important to understand is that it is possible to own an original work (for digital artworks, a digital file registered in the blockchain(3)), and at the same time, a whole series of copies can co-exist and circulate, exactly like what we already know for decades with photography. We've experienced this technology firsthand: about five years ago, a collective of three young French artists, Obvious, came to me with a project of digital works, created in part through algorithms -  artificial intelligence in other words. At the time, I wasn't ready, but two or three years later, I called them back and we started presenting three digital portraits, at the crossroads of traditional painting and avant-garde technologies. By the way, we were the first French gallery to show so-called "NFT" works.

Laurent Issaurat: How do you see the place of Paris in the field of contemporary art?

Kamel Mennour: It is a real revolution that has taken place in my opinion. Ten or fifteen years ago, Paris was perceived, rightly to some extent, as a "museum city", a "sleeping beauty"... which has clearly woken up since then! The quality and richness of the museum program, the opening of major new venues such as the Fondation Vuitton or the Bourse du Commerce, the success of major fairs, the installation of international art dealers and gallery owners, who have arrived from London, New York or elsewhere and are seeking to establish themselves on the continent, have all contributed to this movement. Paris has also become a place where a growing number of artists, French and foreign, young, emerging or confirmed, settle and work, which obviously contributes crucially to the vitality of the ecosystem. These underlying trends, taken together, have contributed to repositioning Paris as an epicenter of the contemporary art world.

Laurent Issaurat: The news will be very rich for you this year, in particular through an exceptional presence of artist of the gallery in Venice...

Kamel Mennour: Indeed, we benefit from a rather remarkable alignment of planets this year! Zineb Sedira has been chosen to invest the French Pavilion, Latifa Echakhch has been selected for the Swiss Pavilion, while Ugo Rondinone and Anish Kapoor will also be present in Venice.

Laurent Issaurat: Finally, what advice would you give to young gallery owners?

Kamel Mennour: First, to be in the air of time, in what the Germans call the "Zeitgeist" ("spirit of the times").  Secondly, to be close to the artists, to be able to listen to them, to understand them, in order to help materialize their projects. Finally, to know how to create, maintain and develop excellent relations with critics, representatives of museums and art centers, to ensure that the work of artists can be validated by these institutions. I would add that this profession is also made of experiences, failures; but maybe the important thing, as Samuel Beckett so beautifully wrote, is "Try again. Fail again. Fall better(4)"?

 

 


(1) An exhibition based on the work of a single artist.

(2) Non Fungible Token, that is, an asset that cannot be exchanged for an asset of equal value. An NFT makes it possible to associate a non-fungible asset (an image, a video, a music, a work of art) with a digital token. Holding this token means being the owner of this asset whose authenticity is guaranteed by the blockchain. (Sources: Les Echos : www.lesechos.fr/industrie-services/conso-distribution/nft-metavers-quatre-definitions-pour-comprendre-ce-nouveau-monde-1378207)

(3) Developed since 2008, blockchain is primarily a technology for storing and transmitting information. This technology offers high standards of transparency and security because it operates without a central control body. More concretely, blockchain allows its users - connected in a network - to share data without intermediaries. Sources: https://www.economie.gouv.fr/entreprises/blockchain-definition-avantage-utilisation-application

(4) "Worstward Ho", Samuel Beckett, 1983

Would you like to discuss this subject further with us?

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The price and value of investments and the income derived from them may fluctuate, both up and down. Changes in inflation, interest rates and exchange rates may adversely affect the value, price and income of investments denominated in a currency other than that of the investor. Any simulations and examples contained in this publication are provided for illustrative purposes only. This information is subject to change as a result of market fluctuations, and the information and opinions contained in this publication may change. No Societe Generale Private Banking entity undertakes to update or amend this publication, which may become obsolete after being reviewed, and will not assume any responsibility in this regard.

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Societe Generale Private Banking has also put in place a policy for handling complaints from its clients, which is available on request from their private banker or on the Societe Generale Private Banking website.

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Laurent Issaurat