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PRIVACY POLICY

 

 

1 INTRODUCTION

 

We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.

 

This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 9th June 2019

 

 

2. OUR LEGAL OBLIGATIONS REGARDING YOUR PERSONAL DATA

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law’).

 

 

3. WHAT PERSONAL DATA DO WE COLLECT AND USE?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our products in our shop or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.

 

3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.

 

 

4. HOW YOUR PERSONAL DATA IS COLLECTED

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

5. INFORMATION ABOUT THIRD PARTIES

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

6. HOW AND WHY WE USE YOUR PERSONAL DATA

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at [email protected];

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

7. DISCLOSING YOUR PERSONAL DATA TO THIRD PARTIES

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

8. COOKIES AND SIMILAR TECHNOLOGIES

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

9. HOW LONG WE RETAIN YOUR PERSONAL DATA FOR

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

10. SECURITY THAT WE USE TO PROTECT PERSONAL DATA

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

11. YOUR PERSONAL DATA RIGHTS

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

12. COMPLAINTS

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

13. CHANGES TO THIS PRIVACY POLICY

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

14. CONTACT

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at [email protected].

We picked five artists from”Hyper Mesh“, Assembly Point, London and asked them five questions about their work on view.

 

Hyper Mesh, Assembly Point, London, a group show curated by Alice Bonnot, which explores contemporary notions of identity, and sets out to examine how identity structures could be re-imagined or reconstructed. Inspired by the idea of an interconnected network, the exhibition offers multiple interpretations of identity, from the geological to the administrative, the personal to the global.

Could you explain this work?

‘Alex’ is a one-year experiment that attempts to create a human being, and all the aspects that make one exist in society. To create ‘Alex’, I worked with a team that included a psychoanalyst, a lawyer, an anthropologist, a scriptwriter, a stylist, and an interpreter. After one year, ‘Alex’ had an administrative and social existence, a bank account, rented an apartment, and had friends. This process and Alex’s life is mapped through videos and objects in the installation of the project.

What does this piece deal with? 

The project starts with a distance taken from reality, a sensation that all is so complex, our behaviour, our societies, our feelings… Anyone can feel this, it’s a vertiginous sensation, but I decided to try to make this question become a collective research, and ‘Alex’ is the experiment of it. He deals with questions anyone can have on how we become the person we are.

What medium and techniques did you use?

First of all,  the project is a collective experiment, and it started with looking for ‘Alex’, so I met people, and constituted a group that would be around him (I met most of them by an announcement to search for ‘Alex’). Every week, we had meetings to think what ‘Alex’ would have to do to exist. We met new people, and we lived adventures. I filmed the process of thinking this. The objects and images that appear on the furniture, of people sat to watch the video, were collected all along the making of ‘Alex’.

What were the struggles of making it?

As any project, the struggle was first to just start to do it, and then to invite people to believe in the project enough to make it with me. These little doubts could be felt all along the project, when people would ask ‘Alex’ about his past, when we had to fill forms… Alex encountered many struggles, and it always made us go ahead : he had no address, no family, no nothing, so we had to find solutions to meet people, to live. Some people didn’t trust the project, and they took distance and progressively left us, but some others helped him a lot, it was like a real person who would built affinities, meet troubles. Struggles were absorbed in the process.

What is the purpose behind this work?

The project was to give a practical and collective dimension to this question of the building of the Self in society. I tried to create a kind of space that is neither a fiction or a reality, just a space where we can try and think, without having the excuses of the fiction or the pressure of reality, a kind of counterfeit.

Could you explain this work?

‘Ban’ is a series of different flags. Here, France and England, made out of silicone, tinted with pigments simulate the colour of the skin. Used for prosthesis as well as for film production, this process, associated with the patterns of flags, evokes the violence that national identity imposes on one’s body.

What does this piece deal with? 

Each fragment of our planet, from an island to the smallest piece of packed ice, drifts into the bosom of a nation-state, from which it is impossible to extricate ourselves, except to immediately enter into another one. This assimilation of people and cultures under a single banner has always been by force: gun or scalpel. A transplant taking place here, is an amputation done there. To escape this scheme is to be relegated to the rank of stateless people whose camps have flourished all around the world these former decades. There, time stretches from temporary to eternity. According to Zygmunt Bauman in his book, ‘Liquid Times’, these inhabitants are residues of society, “human waste”, kept away just as household waste or radioactive waste. Thousands of them also just disappear in the oblivion of the Mediterranean sea, like they have never existed. ‘Ban’ refers to moults as an old way to conceive one’s identity, what’s left behind after emancipation.

What medium and techniques did you use?

Those flags are mould on synthetic leather, the silicon taking the form of all the asperities, imitating skin and flesh. We also used different adhesive plastic ribbons to create different kind of textures. The silicon is slightly tinted with pigments, simulating different skin tones and flesh. We kept it really translucent and clear, so it refers to moults.

 

What were the struggles of making it?

How to talk about a rather hard subject, like political migration, and to talk about people like refugees, when we all know the horrors they’re going through, to finally be persecuted in Europe by police and laws? As European artists, we chose to focus on the important symbols flags still are, especially in France, and which has to be left behind. It also reflects some fear that we feel about this item, when fascism is crawling through Europe. Presenting flags as dead skins is a way for us to fight those fears by mocking them.

What is the purpose behind this work?

No borders, no nations.

Could you explain this work?

The two works on show are partly based on items from the Mutter Museum’s collection of swallowed objects, a collection of ingested objects recovered by Dr Chevalier Jackson, who meticulously catalogued his recoveries. My sculptures have incorporated distinctly human belongings, things that we dispose of or lose, remnants that relate to people. Colour or texture, appearing geological, is made from foodstuff you may find in a kitchen cupboard. These ingredients relate to holistic remedies used to treat aches, pains, and aliments. Part geological strata part layer-cake, the works are chunks of matter that imply a larger body. I would hope that the casting processes and the resulting forms draw parallels with the removal of materials on an industrial scale – like quarries and tunnelling – as well as burial, like grave cavities where people are places which turn to bone and soil. These sites are where our peripheries physically morph and break down into soil, sustenance for vegetables and animals, and a material marker of our memory as a once living being.

What does this piece deal with? 

The works deal with internal and external, in terms of the body, display and production – architectural rear spaces, and hidden bodily activities or situations that are brought into view through specific objects, textures or forms.

 

What medium and techniques did you use?

The works were made using basic casting and metalwork techniques. The metalwork sections are made from welded mild steel and laser-cut aluminium, and the cast blocks are made from plaster, jesmonite, cement, oak, as well as stranger materials such as bird grit, turmeric, poppy seeds, ash and paint.

 

What were the struggles of making it?

The struggles of making it were technical. The metal armatures were complex and fiddly, because the curves in the frameworks could not be achieved using standard metal bending equipment. This meant that I drew the profiles on a computer instead, and a laser-cutter copied these exact shapes, cutting them out of sheet steel. It was made into the hollow square section by welding flexible strips onto the sides, to follow the curves of the drawing, and to make it a complete unit. We needed lots of clamps. 

 

What is the purpose behind this work?

I want it to function like the way your tummy rumbling makes you suddenly think about the shape and actions of your gut. Digestion, swallowing, and spices centres the work at the intimate site of the mouth and deep in the sensation of the belly, but this kind of food is to be chewed in the mind instead of the mouth. Like the board game of ‘Operation’, the body is opened for us to poke and prod at its cavities.

Could you explain this work?

It is a painting, made with acrylic paint on canvas. It is 55 x 67.5cm, and is various shades of ultramarine blue.

 

What does this piece deal with? 

I was interested in exploring certain illusionary qualities that paint can achieve, specifically the illusion of weight, or lack thereof.

 

What medium and techniques did you use?

I drew with a scalpel and masking tape (tesa brand – good stickiness for canvas, and you can see through it when drawing) and used an airbrush with golden fluid acrylic paint in it.

What were the struggles of making it?

I had a fairly clear idea of what I wanted to do at the start, but the doing takes a long time with this way of painting, there’s a lot of admin, as opposed to actual paint on canvas time.

What is the purpose behind this work?

Disregarding more personal connotations of the imagery, in direct terms, I wanted to juxtapose images of objects of a supposed weight with the transparent nature of their application.

Could you explain this work?

The work ‘Angels Like Buildings’ is the meeting of two characters, a Humanoid Wild Dog, and an Amphibian Owl Hybrid. The encounter takes place
between them and with the viewers. The work gets manifested through two ways: an installation comprising of moving image, sound and sculpture, and also though a live performance, where the characters and their voices are mediated through living bodies, within the sculptural elements that their world is within the context of the group show at Assembly Point.

What does this piece deal with? 

‘Angels Like Buildings’ deals with the existence of these other creatures, that are part human, part animal, part spirit, part building. Through their voicing of being – which takes place in and out of their bodies – the work addresses darkness, hope, the need for support, intimacy, fear, and the breaking down of boundaries, whether that’s place or gender or anything else that potentially keeps beings at distance.

What medium and techniques did you use?

The final result of my work is piecing together a puzzle of many very different processes and bringing them together with sensitivity, attention to detail, and confidence. These processes support each other and lead one another to hopefully something new and undefined. First, I write the text that holds what these characters are, and what they communicate to the rest of us. These words are then transformed into songs, which I devise and record with two different people that give me their beautiful voices. The emphasis of this stage is to pour soul into the words, and to reach new territories where the voice transcends its human nature and becomes other, like for example wilder like an animal, or more solid like a building. Then this recorded audio is knitted together tightly, and given to two other people, that are performers and drag artists. They have to learn it very well, make it their own, so they can lip-synch it accurately both for the performances and for the moving image/video part of the work. Rehearsals are required, different questions and needs for the filming, and different for the performance. Meanwhile, all this time, I am also making some sculptures/costumes/structures that will exist in the exhibition, and they will play a role in the performance, as parts of the characters’ identities and bodies. In the making of these, I use several techniques, like welding, life casting, working on
clay and mould making, amongst others.

What were the struggles of making it?

I find the hardest part is to overcome my own fears and doubts when making work. The writing is challenging for me, I guess I want to make sure what
I say (and through me, my characters) makes sense and the world I create also makes sense, in its own very unique way. But that it also leaves something strong behind it too. Working with other people can be scary; there is a sense of responsibility, and a need for clarity when asking for things, which means you need to know what you are asking, what you are looking for. Incorporating a performance and a relatively large-scale installation within a group show can also be quite difficult, but dealing with it is part of the process, so it’s all very helpful in terms of the struggles!

What is the purpose behind this work?

The purpose is to open a window into to the world of the Wild Dog and the Amphibian Owl, and with them, to travel as far away as the stars in the skies, and as deep as the darkest waters. I will be happy if the viewers get carried away within that as much as possible, and with as much trust and care as they can bear.

28.01.19

Words by Martin Mayorga

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