Cera, structural partner of M

M and Cera have long been collaborating on widening access to art and creating opportunities for young, promising artists. But how did this unique collaboration evolve? And why would a cooperative join forces with a museum in the first place? Stephan Olaerts, Director at Cera, knows the answers.

‘ith us, it’s always about connection

Stephan Olaerts

Director at Cera

‘Cera’s ideas date back to Friedrich Wilhelm Raiffeisen. He was the mayor of a German village in the mid-19th century. Back then, the majority of residents were agricultural workers. Your own family history will reveal something similar: reach back through the generations and you will certainly find an ancestor who farmed.’

‘Most farmers lived in poverty. Raiffeisen tried to help them through charitable acts, but it gradually dawned on him that nothing ever really changed. The real problem, he realised, was that farmers were excluded from the financial markets. They knew how to improve their farms and increase revenue, but they could not borrow any money to implement those schemes. Banks did not have branches in those days. Loans were arranged through notaries. Which was fine for rich people and the nobility, but it was too expensive for farmers. They were unable to access the levers that could lift them out of misery.’

Stronger together

‘Raiffeisen’s solution: unite the farmers into a cooperative and establish a mutual bank. The farmers would all be shareholders. Limited community resources were pooled, which allowed the shareholders to lend to each other. A very ingenious system, which effectively lifted many farmers out of poverty.’

‘Father Mellaerts adopted the idea in Flanders in 1892. It all started in Rillaar, but ‘Raiffeisenkassen’ [Raiffeisen funds] quickly spread throughout the region. Over 1,000 had been established by the early 20th century and there was a need for coordination, an over-arching central bank. This eventually developed into Cera, a cooperative bank that also targeted the general public.’

400,000 Cera associates

‘In 1998 – exactly 25 years ago – Cera merged with the Kredietbank and ABB Insurance. Prior to the merger, Cera was the country’s fourth largest bank. We brought our activities to the newly merged KBC group and became a core shareholder. Together with our subsidiary, KBC Ancora, we hold about 23% of the shares. In so doing, we continue to fulfil our most important promise to our associates: access to financial services through the anchoring of KBC.’

‘We also have two major objectives for which associates can count on us, both of them in the spirit of Raiffeisen: doing together what you are too small to do alone. The first aspect is associate benefits. With our large cooperative – some 400,000 members – we can negotiate many discounts on products, services and events. These could include festival tickets, for example, or other experiences you can enjoy with family and friends.’

Removing barriers

‘Again, the other objective is related to connection: we invest to help create a society that allows people to live well and thrive. Health issues, poverty or other vulnerabilities throw up barriers for certain people. We initiate projects aimed at removing those barriers and we ensure that everyone is on board.’

‘Building local communities is also very important to us: being part of a network in your immediate surroundings. Something that is no longer obvious. Not just in cities, but it is also diminishing in villages. Shops, bank branches, pubs, GPs... It’s all disappearing. This not only affects services, but also the social fabric. There are fewer and fewer places where people can run into each other. We are trying to do something about this by turning streets back into neighbourhoods. For example, by establishing projects in which people can join hands, and connect with neighbours, friends, care institutions in the neighbourhood...’

M on board

‘Over the past twenty-five years, Cera has also steadily built up an art collection. It now contains almost 600 works by 110 artists, all with a link to Belgium. In this, too, you can see the theme of connection that drives our work: art inspires, incites conversation, brings people together...’

‘Our starting point is always that we are managing the cooperative for the next generation. And to manage our art collection in the best possible way, we needed a professional partner. We found that very naturally here in Leuven, with M.’

‘To begin with, they took responsibility for documenting and archiving the works. They also handle maintenance and preservation. And – most importantly – they help us bring the collection to life. M exhibits the works in the museum, but also allows them to travel. Last year, we had around forty loans at home and abroad. And M’s curators guide us in acquisitions. They present us with well-researched files about possible acquisitions. The decision lies with us, but their advice is crucial. Above all, we want to support emerging talent. It doesn’t have to be Belgians, but it always involves people working on Belgian soil.’

Support for art

‘Our collaboration with M is not just confined to collection management. For example, we support the collection presentations, including a biannual public participation project: a group of visitors selects an exhibition from M’s collection under the guidance of the museum staff. One such project has culminated in an art education package for secondary schools.’

‘M took the initiative to support young artists during the covid crisis. The world fell silent for everyone for a while back then, but young artists were hit extra hard: they could no longer show or sell their works. M sought financial support from us and from the City of Leuven, and also launched a crowdfunding campaign. All together, they raised around 100,000 euros for the purchase of artworks. A tremendous result. They also used the resources to create an exhibition: The Constant Glitch. The art scene was immensely grateful for that action. Again: it’s all about connection.’

Thrush and mistletoe

‘Our partnership with M is also very rewarding on a personal level. There is the collection management aspect, of course, but the museum also helps us raise awareness of our story. We can explain who we are, what we do, and what we want to achieve, for example via this interview. We inspire each other, I might add. At Cera, we wholeheartedly believe in ecosystems: independent but mutually reinforcing parties. A thrush eats the mistletoe berries, thereby helping to spread the plant. Everyone wins. We have found just such an ecosystem with M.’