Art News

Generali has announced the launch of ARTE Generali in France, offering innovative and cutting-edge art insurance solutions for art collectors. Following a customary testing phase, ARTE Generali solutions will be available in the “Hexagon” starting from 16 November.

Key features will include the 24/7 exclusive concierge service, offering transportation and storage of the insured items, among other services, as well as the ARTE Generali app. The app was created in collaboration with the Paris-based digital start-up Monuma, which offers customers the remote evaluation of their art pieces. The app will allow art collectors to access services at their fingerprints.

"ARTE Generali is an innovative offer in the art collectors' insurance market. We have been able to make the most out of technology to propose a relevant and tailor-made offer", said Mikaël Couëffard, Head of underwriting for ARTE Generali in France.

Generali France is one of the main insurers in the country, providing insurance solutions to more than 7.1 million people, as well as 750,000 professionals and companies. Its commitment to arts and culture – upon which ARTE Generali will build – is proven by initiatives such as the patronage of the exhibitions “Eblouissante Venise” at the Grand Palais in 2018 and “The Bodies and the Soul, from Donatello to Michelangelo” soon to be inaugurated at the Louvre.

Regis Lemarchand, member of the Executive Committee of Generali France, in charge of professional and SME clients as well as Non-Life corporate business, commented: “ARTE Generali is part of our Generali 2021 strategy which set forward our aim to be life-time partners to our customers. Accordingly, we deliver our offer to high-end clients while leveraging our expertise.”


To know more,

  1. Régis Lemarchand

    Régis Lemarchand

  2. Mikaël Couëffard

    Mikaël Couëffard

ARTE Generali has signed an agreement with Oman Insurance Company to tap into a market with a potential value of US$ 10 million per year

ARTE Generali signed an agreement with Oman Insurance Company which enables it to reach first-class customers through a jointly developed insurance solution.

“The Middle East is one of the most promising and undeserved market for the insurance dedicated to art and valuables, and we want to play a leading role there”,commented Jean Gazançon, CEO of Arte Generali.

This agreement enables ARTE Generali to expand to the Middle East just one year after the company’s establishment.

Oman Insurance Company was established in 1975 and is headquartered in the United Arab Emirates. It offers a full range of insurance solutions spanning Life, Health and Property & Casualty to individuals and corporate clients and boasts an extremely solid financial situation.

The joint ARTE Generali-Oman Insurance solution will be part of Oman’s “Privilege Club” offer. ARTE Generali will provide insurance expertise in art, jewelry and other valuable contents as well as an agile platform for quotations, underwriting and claims management. Oman Insurance Company will help ARTE Generali reach high net-worth customers thanks to its established distribution network and local market expertise.

A big breakthrough for ARTE Generali - today it has launched its new app.

With the app, ARTE Generali has taken one step ahead for its customers who require digital innovation. Jean Gazançon (ARTE Generali’s CEO) said, “The demand for digitization in the art world has been pushed further by the Covid-19 pandemics. As a trusted partner to art lovers, ARTE Generali developed a digital platform that meets this demand and aims to simplify the life of distributors and final customers. We prove that art insurance can be innovative.”

This App will benefit customers and brokers. For customers, it will simplify the administrative process and facilitate contacts between customers and the insurance provider and intermediaries. Also brokers will benefit from significant process simplification. The “remote evaluation” feature, for example, will assist art collectors by providing digital evaluation of their art pieces with no physical visit. It will be done by submitting art pieces’ photos and related information via the app. Later, art collectors will get a digital unalterable certificate associated with the art piece.

Customers will also get other privileges in the next future, for example they will be able to join an art community of art lovers and experts and they will get updated news regularly and invitations to exclusive art events.

The digital award

ARTE Generali aims to be a life-time partner and, accordingly, be always on the side of its stakeholders and the art community. Gazançon said: “The Corona crisis does not spare the art world. Because we are aware that small art galleries, museums, art dealers and young artists are experiencing serious difficulties, we decided to act with the aim of supporting them in a concrete way." To this end, ARTE Generali has established an award for the best digitization projects that allow the whole community to enjoy art even at a time of lockdown and social distancing. More detail on the ARTE Generali digital award will be provided in the next weeks.

  1. Login Display ARTE Generali App

    Login Display ARTE Generali App

  2. Main Menu ARTE Generali App

    Main Menu ARTE Generali App

  3. My collection (One of the features)

    My collection (One of the features)

By Alessandra Pugliese

When Mariella Casile boarded the last flight connecting Italy to New York, little did she know that she would come face to face with a very long and “solitary quarantine”, as she calls it.

“I know it sounds crazy, but whether it is consulting for my Italian clients or preparing clips for my collectors, these days I am constantly at work so I don’t mind,” she says.

Ms Casile is a Manhattan-based art dealer and also a curator of six private collections located between Europe and South America. Like everybody else in her trade, she has to navigate the uncertainties brought by the coronavirus lockdowns across the world and the pandemic’s economic fallout.

According to Ms Casile, many collectors are using this “suspended time” to strengthen their knowledge and personal taste. “Some are already gathering information for possible investments to be made in the next six to twelve months. The markets have not stopped their activity,” she says.

At the end of March, Art Basel went digital for its Hong Kong Art Fair “Art Basel Online Viewing rooms”, offering VIP previews, virtual tours and openings.  Among the 235 galleries to take part in the event were Hauser and Wirth and Galleria Continua.

“Louise Bourgeois and George Condo were among our first exhibitions to go digital,” says Stefano Rabolli Pansera, Director of the Hauser and Wirth Galleries of London and St Moritz.

“Later this month we will unveil our first Virtual Reality exhibition model for the opening of the new Hauser and Wirth Center in Menorca”, he adds. “The relation with our collectors is very important to us and all these initiatives are a way to keep it alive.”

H&W donates ten percent of its profits from online exhibitions to the COVID-19 Solidarity Response Fund for the World Health Organisation, and just to give an idea, the George Condo drawings (sold out) were priced at $100,000 to $125,000.

“Having a gallery in Beijing we had already experienced COVID-19 in January, so when the virus hit Europe we already knew what had to be done,” explains Maurizio Rigillo, one of the three partners of the Tuscany-based Galleria Continua. “We first made sure our staff was safe, and then we began to find ways to sustain the efforts to fight COVID-19. We asked our artists to donate one of their works, and the response turned out to be very good.”

When asked about the near future, Mr Rigillo replied “Until people are not able to travel, I believe that the distribution will only be at a local level. International art fairs will probably come to a temporary stop. It will be difficult for fairs, for big art shows such as the Venice Biennale. They will in part go digital. With that in mind we are thinking about organizing temporary exhibitions. As of now we are in close contact with our collectors and with our artists.”

Galleria Continua will reopen the Beijing gallery in May.

“I don’t see a market problem. The antiques and art market is counter-cyclical, there will always be a market,” says Guido Wannenes, owner of the auction house that carries his family name.

“Auctions have only moved online, but the online was already in use before COVID-19. The real problem for us is when our lots will all be sold and our storages will be empty, what will we auction if we cannot travel to go in search of paintings, furniture, jewels? I  may be able to read a painting online but jewels require to be seen in person,” he says.

Flaminia Gennari Santori, Director of the Barberini and Corsini National Galleries in Rome, hopes  to be able to reopen the two museums in June.

“We have a strong online presence and four exhibitions ready for the reopening.,” she says. “At the beginning we might have less visitors but I am sure that people will return. We are ready”.

  1. © Alessandra Pugliese

    © Alessandra Pugliese

ARTE Generali and Jan Kuck: On burning questions and art as a mirror of society

Conceptual artist Jan Kuck and ARTE Generali got to the bottom of the burning questions of motivation, drive and passion with the artwork "The Burning River". At the beginning of March, the light installation on the Isar in Munich was broadcasted worldwide via livestream. In the interview, he gives insights into the creation of the installation and talks about mutual relationships between art and business. Kuck also explains why it is our job to make art accessible and to protect it for everyone. With this ambition, Generali Deutschland supports national and international art projects, exhibitions and artists with its art insurer, ARTE Generali.

“The Burning River” project emerged with the support of ARTE Generali. What is the idea behind it and what does it mean for you?

I've been thinking for a long time about how to use light in the city for art installations. Most of the time, light is projected onto houses or bridges, but I wanted to illuminate the water because the rivers are like the main arteries of cities for me. Nowadays everything changes faster, is short-lived and I asked myself what is the basis on which we make decisions? It should be what you're passionate about. With the question "What are you burning for?" we made a lot of people think about that in a playful way.

"Art is always a mirror of society" - Jan Kuck

What role does technological innovation play in art?

Art moves with time, therefore technology will play an increasingly important role in the future. However, technology should only be supportive and never take over the main part and thus cannot replace art. Nevertheless, as the example of the Arte Generali app shows, it can assist art collectors with assistance services.

ARTE Generali launched the campaign "Great artists steal" with Maurizio Cattelan and Oliviero Toscani last year. What do you associate with this sentence?

Yes, of course that's very provocative and a successful campaign. As an artist, you should always be inspired by everything and create something new from what you see. With the campaign, the two artists set an important example: the high value of art must be protected.

In 2015 your exhibition “Who Cares? Social Responsibility in Contemporary Art” dealt with social responsibility - a topic of great importance in the Generali.

Social responsibility is also very important in art. On the one hand, because art always mirrors the time and on the other hand artists now have more opportunities and freedoms to express themselves critically to society than they had in the past. They can draw attention to grievances, conflicts or resistances and thus stimulate people to reflect on their actions. In my opinion, art should be a kind of dialogue between the artist and the viewer.

To what extent is it important that companies support art and what can art and culture bring to a company in return?

I find symbioses of this kind very important. Everyone can learn from the mutual relationship, both artists and companies. Art is there for everyone and should be a kind of basic value for all people. At the same time, the change of perspective opens up new methods, non-professional approaches, aspects and gives food for thought. Artists benefit equally from a strong partnership: without Arte Generali, for example, it would not have been possible to implement a project like “The Burning River”.

"For me, art is philosophy that starts where words alone are no longer sufficient to ask the really disruptive, burning and important questions" - Jan Kuck

Jan Kuck is currently advocating "Art Thinking". In this concept art is combined with science and business and serves as a creative engine and accelerator of innovation. Progress and clever ideas succeed much faster if you work together in an interdisciplinary manner. In this way, Generali also keeps getting new thought-provoking impulses through partnerships like these and remains open to creative ways.

  1. © Jan Kuck and impressions "The Burning River" 2020, Felix Rodewaldt

    © Jan Kuck and impressions "The Burning River" 2020, Felix Rodewaldt

  2. © Jan Kuck and impressions "The Burning River" 2020, Felix Rodewaldt

    © Jan Kuck and impressions "The Burning River" 2020, Felix Rodewaldt

  3. © Jan Kuck and impressions "The Burning River" 2020, Felix Rodewaldt

    © Jan Kuck and impressions "The Burning River" 2020, Felix Rodewaldt

By Dr. Sonja Lechner, art historian and Managing Director of Kunstkonnex Artconsulting (

Hardly any other picture illustrates the paradigm shift the art market has undergone within a few weeks more significantly: Just over a month ago, the Ifema exhibition center in Madrid was filled with both protagonists and recipients of the international art scene – on the occasion of the „Arco" art fair, around 95,000 visitors gathered there from February 29 to March 1. Today, instead of contemporary art, the rooms house hospital beds from the emergency room that was hastily built there. The Tefaf in Maastricht, which in the first week of March opened its doors to 280 exhibitors from 22 countries and thousands of visitors before it closed early again due to the appearance of corona infections, will probably be the last fair for a long time to be accessible in the literal sense of the word, enabling visitors to view art directly: Following the cancellation of Frieze in New York and the postponement of Art Cologne to the same date as Cologne Fine Art and Design in November, this week Art Basel also announced that its fair will now take place in September in lieu of June. Art Basel Hong Kong had already reacted in good time and shifted the fair completely into virtual worlds: instead of showing art in Hong Kong's Convention Center, the collectors were now invited to viewing rooms. In line with the actual schedule, VIP card holders were given access to those rooms first, joined later by the rest of the art collectors. There, art was projected onto a photo of the wall of a fictitious booth, whose bench suggested that one could sit down and contemplate each work.

This format was more or less the starting signal for a new orientation of the art market: the shutdown in almost all countries currently makes neither exhibition openings nor gallery visits or museum tours possible, and is hitting hard the entire international cultural sector. In addition to the emergency aid measures for artists, freelancers and entrepreneurs, there are further calls for help such as the reintroduction of the reduced VAT rate on art in Germany. Additional financial protection will be necessary to prevent numerous insolvencies in the art market, protective umbrellas such as the approval of purchasing budgets for museums specifically dedicated to acquisitions from galleries, or support programs for art fairs, art weeks, gallery weekends and similar formats.

The Roman poet Ovid had already noted that "talent is often awakened by necessity," and indeed, the art market is taking new paths, all of which lead to the Internet. An unprecedented density of digitalization has gripped the actors of the genre. Not only galleries and artists are virtualizing their offerings, museums are also expanding what Google Arts & Culture published even before the pandemic: digital tours through the most important collections worldwide. The spectrum of offers ranges from filming closed exhibitions and recording opening speeches to artist interviews, archive highlights or studio insights. This type of presentation has its advantages: Not only are many images accompanied by information on the artist, work, or price, which lowers the inhibition threshold of those who never dare to ask, but filming close to the surface also enables access that many alarm systems or gallery owner otherwise prevent – immersion in details. Tripping color seems to flow towards the viewer, the eye can perceive painted formations or sculptural microcosms at close range.

"The idea of progress can be founded in the idea of a catastrophe": The citation of this quote by Walter Benjamin in the midst of the global crisis must not be misunderstood cynically in view of the tens of thousands of deaths caused by the pandemic. It must be understood as an appeal, as a call to reposition oneself, to enter new grounds, to initiate progress that implies a progression from familiar paths. While attempts to efficiently set up marketplaces that function independently only on the Internet, such as the "VIP Art Fair," have so far not been crowned with success, the art market will no longer be able to survive without virtual instruments in a future post Corona. It is to be hoped that all the virtual variants of making art experienceable will allow to bridge this state of emergency, and that all these efforts will be preserved in some form of additional offer afterwards, as a supplement to what will nevertheless remain indispensable: To be able to see art in the flesh, to experience and feel it with one's own eyes in situ. From an art historian's point of view, it would be desirable that the worldwide standstill will increase the longing of all art lovers to be able to view originals again, and that this longing will imply a different kind of appreciation. One able to initiate a paradigm shift whereby art is no longer predominantly valued as an object of investment and speculation, but rather as what it actually is – a constant expansion of our perception. "Art does not reproduce visibility, it makes visible", Paul Klee once apostrophized – right now, art is questioning our viewing habits, and is showing us new ways of seeing.

  1. © Felix Rehfeld, Berg 2 (detail), 2018, oil on canvas, 30x40cm

    © Felix Rehfeld, Berg 2 (detail), 2018, oil on canvas, 30x40cm

  2. © Dr. Sonja Lechner

    © Dr. Sonja Lechner