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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

2021 Marcel Duchamp Prize: meet the nominees (1/3): Julian Charrière

Born in 1987, Julian Charrière is French-Swiss. He lives and works in Berlin. He was one of the four nominees for the Marcel Duchamp Prize 2021. Exclusive interview by our expert Laurent Issaurat.

The Marcel Duchamp Prize was created in 2000 on the initiative of the ADIAF ("Association pour la diffusion internationale de l'art français"), to highlight the creative abundance of the French art scene, and has been supported by Societe Générale Private Banking for several years. Its aim is to distinguish the most representative artists of their generation and to promote internationally the diversity of practices currently at work in France. Meet one of the 2021 nominees, Julian Charrière.

How would you describe your current practice in terms of preferred media and themes?

I don’t have a preferred medium per se. I never use the medium as the means to take on a new subject. It's always the opposite, in fact. The starting point is the concept, the idea, that I try to interpret, dictated by the means. That’s why my work encapsulates a broad range of media, including video, performance art, and installation — one of the particularities of my work is that I sometimes develop my projects beyond the four walls of my studio. Very early, I was interested in our relationship with space, in the world that passes through us and through which we pass. Thus, moving beyond the studio was an obvious next step. Working in the field, in the landscape, and directly with the subject is what drives my approach. Sometimes my work can be seen as provocative by inviting critical reflection on the cultural traditions of our perception, representation, and engagement with the natural world. It’s an invitation to challenge our preconceived ideas and inherited conceptions of the notion of Nature as an idea or an ideal, as well as its transformation over the deep geological course of time, including the history of humanity. 

Image credits: Julian Charrière, Towards No Earthly Pole, 2019 / Installation view, Towards No Earthly Pole, MASI Lugano, Lugano, Switzerland, 2019 / Copyright the artist; VG Bild-Kunst, Bonn, Germany / Photo by Jens Ziehe

What pieces (or series of pieces) best epitomise your work, or are particularly meaningful to you?

My latest video project Towards No Earthly Pole is one of the hardest phases of work I have ever experienced in the production process. The project emerged as a kind of outcome of the themes running through my head for a few years now. My team and I took three years to develop the final version after several grueling months of filming in the Antarctic, the Arctic, and the Alps. What fascinates me is not only the film but the regions where we filmed. Some of my latest work finds its origin in parts of the cryosphere in which memory is encrypted and contained. This interest in the hidden knowledge contained in certain raw materials is not new to my work. For example, the Future Fossil Spaces project that began in 2014, and for which I was invited to the Venice Biennale a few years later, addresses similar themes. For this piece, I focused on the digital age and its materials, which have led to the emergence of a period of increasing dematerialisation. I used lithium-rich salt and brine from the Salar de Uyuni salt flat in the Bolivian Andes — the largely untouched home to a third of the Earth’s lithium reserves. This fact will probably make it the biggest extraction and production site of this highly-prized metal, given our growing reliance on mobile technologies. Salt bricks piled on top of one another to resemble geological strata as a reminder of the long processes that led to the formation of these resources, juxtaposed with the potentially rapid destruction of this environment. Examining the salt and its chemical reactions was one of my first attempts at working the different stories compressed in the strata of a given material — an examination better served through the prism of geology than through the humanities or the news.

Image credits: Julian Charrière, Future Fossil Spaces, 2017, Installation View, La Biennale die Venezia, Arsenale, 57th International Art Exhibition; Copyright the Artist, VG Bild-Kunst, Bonn, Germany; Photo by Jens Ziehe

Tell us about an important source of inspiration in your journey (an encounter, a lecture, an event, etc.).

One of my main sources of inspiration is travel: allowing spaces to move through you while moving through spaces; learning through encounters with a given place, its stories, and its substance; getting lost in the different time scales and levels of ecological coexistence. I'm fascinated by places where different meanings superimpose, and where different narratives emerge through different cultures and periods. Places of radical history also have an element of fiction that is hard to escape, especially when real history is no longer visible nor tangible. A major shift occurs between the aspect, the original essence of a place, and its appearance, its representation.  Sometimes the emotional tie connecting a tangible space to its history ceases to exist. It is replaced by images floating within the collective visual imaginary. I'm basically interested in places that can be read in many different ways. Certain materials also contain particular stories revealing inherent time scales. Our society relies on specific ancient resources, shedding light on history in a broader context, showing the evolution of our environment, i.e. nature and our role within nature. Working with these materials is another type of journey to distant places with exact geophysical identities. Ultimately, the interaction of substance and deposits open up new possibilities for me.

Can you give us a few words on your project for the 2021 Marcel Duchamp Prize?

The project deals with the celestial memory and past states of the atmosphere, as well as with humanity’s place within these complexes, the sheer scale of which is beyond our comprehension. The state of the skies and the former states of the atmosphere crystallise as air bubbles trapped in the ice’s strata. These bubbles containing the history of the atmosphere are one of the keys to understanding the systemic functioning of the Earth’s climate. This explains the work’s connection with the cryosphere, its rapid liquefaction, and the loss of this information. Glaciers and polar caps are in my mind the oracles of the twentieth and twenty-first centuries. Visiting an oracle should give you answers to a possible future, an omen. These oracles communicate loud and clear and are echoed by the scientific world. Yet society has turned a deaf ear to their dark omens of the deregulated climate of the world that awaits us. The project takes the form of an immersive installation that addresses different states of matter, namely the avatars of carbon and its chemical cycle. The centerpiece is a “pure waste” video that documents an action taking place in the north of Greenland. A hand casts a few diamonds into a glacier mill a few diamonds in a gesture, both provocative and reconciliatory. The diamonds in question are quite special. I created them using the CO2 collected during a reverse extractive operation — i.e. not mining minerals from rock, but sucking out the dioxide in the ambient air, which I mixed with the CO2 collected from the breath of a thousand people around the world, before transforming the carbon in its purest and hardest form: the diamond.

Image credits: Julian Charrière, Weight of Shadows, 2021, Installation View, Prix Marcel Duchamp 2021, Centre Pompidou, Paris, France, 2021 / Copyright the Artist, VG Bild-Kunst, Bonn, Germany / Photo by Jens Ziehe

Where will you be exhibiting after the Marcel Duchamp Prize?

I have a joint exhibition with Katie Paterson — a kind of a follow-on of the project presented for the Marcel Duchamp Prize — at the Tschudi gallery in Zuoz this December, then a project for Parasol Unit in Venice in the inner courts of the music conservatory. 

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Kleinwort Hambros is part of the "Societe Generale Private Banking" business line dedicated to the private management of the Societe Generale Group. Societe Generale is a French bank authorised in France by the Autorité de Contrôle Prudentiel et de Résolution, located at 4, place de Budapest, CS 92459, 75436 Paris Cedex 09, under the prudential supervision of the European Central Bank ("ECB") It is also authorised by the Prudential Regulation Authority and supervised by the Financial Conduct Authority and the Prudential Regulation Authority. Further information on SGPB Hambros Group, including additional legal and regulatory information, are available on www.kleinworthambros.com.

Laurent Issaurat