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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 24th May 2018

 

 

  1. 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‘).

 

 

  1. 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 artworks 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.

 

 

  1. 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.

 

 

  1. 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.

 

 

  1. 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 studio@dateagle.art;

(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.

 

 

  1. 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.

 

 

  1. 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.

 

 

  1. 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.

 

 

  1. 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).

 

 

  1. 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.

 

 

  1. 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/.

 

 

  1. 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.

 

 

  1. 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 studio@dateagle.art.

Developing a relationship with technology by humanising it

German artist Aaron Scheer’s work bounds together collages, photography, and a painterly technique through the digital realm, expanding what painting can be, or mean in today’s digital age. The production and process itself is an act of art, but nothing compares to the completed projects, some made to solely exist virtually and some created to exist physically, including his “DaNA”, “Virtual Matter”, and Digital Archeology” series. In between the poles of analogism and digitalism, high and low, on and off, or conscious and unconscious decisions, Sheer’s work is all about process, questioning the idea of the human in technology, and the technological in the human. The artist admits an initial “love-hate relationship with machines”, in which he begs us for deeper consideration of both the human and the machine’s affections.

 

Aaron Scheer (b. 1990, Ahlen, Germany) graduated from a B.Sc. and completed a M.Sc. at HDK – Högskolan för design och konsthantverk, Gothenburg, Sweden. He has previously exhibited with isthisit (London), Contemporary Collective Gallery for Artsy (Berlin), Gothenburg’s International Art and Design Festival (Gothenburg), Off Site Project (London/ Mexico City), Scandale Project (Paris), amongst others. Aaron currently lives and works in Berlin.

Berlin, by Martin Mayorga

When and why did you move to Berlin? How has your work evolved since then, and what struck you about Berlin when you relocated?

I’ve been moving to Berlin approx. 2.5 years ago. Berlin was always an option, ever since I fell in love with the art and creative scene there. But there has never been the right time really. After my B.Sc., the time was right. Also, because my girlfriend relocated from Paris to Berlin at that time. Berlin is one of the most flourishing creative metropolises in the world. And one that is still affordable. There is an influx of creative young people with the philosophy to experiment. Berlin radiates an almost irresistible entrepreneurial energy. A great flow, and I wanted to be part of that flow. My work became more consistent, and at the same time more experimental. A paradox, I know. Berlin helped me to be more conscious about the topics that I address in my work, as well as a certain aesthetic I am trying to achieve: all influenced by the digital age we’re living in. Parallel, I started to expand my work to other mediums and techniques, such as video and installation. My Master studies helped me a lot in this process, where I could have the safe space to both experiment (do) and reflect (think).

Berlin’s overwhelming art scene, architectural majesty, and energetic vibe is what makes of this city a creative meeting point for art insiders. What is the role of the city within your practice?

Absolutely. Well, it is not so much the city itself, but more the people who play such an important role. There are so many interesting young artists and creative people here, all with the desire to shape contemporary life. I’m trying to meet a lot of other artists, as well as curators and gallerists. And try to attend as many exhibitions as possible. Berlin is very inspiring. But can be exhausting as well. There are so many things going on, things to attend. You can get caught up. You need to find time for your own work. But I wouldn’t want to miss it. I’m actually planning to incorporate the city with its impressions on me in one of my next series. I had the idea for quite some time. Let’s see where this goes. Stay tuned!

What is your routine like in the studio, usually? Does the fact that your studio space is located in your house control your daily practice? How do you find the balance between work and life?

Yeah, that’s a good question. I always tend to be someone who doesn’t really differ between work and life. I’m very driven. Sometimes I work a bit too much. I always have a lot of different projects at the same time, not only art projects. As I’m working a lot online, it’s quite convenient to manage everything from home. It enables me to have different things going, while still trying to manage some kind of private life. I love “Netflix and chill” evenings, haha. My usual day would start with Instagram (and end with it), checking emails, talking to people, listening to music, drinking tea, and working on projects. And yes, besides ,I do laundry and cook. Music is very important when I work on my art projects. It helps to get me in some kind of creative flow. And then it just starts. A lot with my computer. Collecting material, collaging things, abstracting things; simply testing things out. My work is really a process, it’s core. Whenever I get some kind of thought, I simply try it out, experiment around, and just do. I go from there. Sometimes till the middle of the night.

Can you identify creative turning points or significant encounters in your career based in Berlin, so far?

I remember being in Berlin with my father, who was a painter as well, visiting Hamburger Bahnhof; one of the major art institutions in Berlin. I was approx. 17 or 18 years old. I’ve been visiting other institutions before, basically since I can think and walk, but this one somehow left a marking memory. I think it was a combination of this pulsating city, it’s inspiring people, and a lot of good inspiring art. I especially remember some new media and collage contemporary pieces that really stuck with me. Haven’t seen such pieces before. In addition to works from Neuman, or Beuys, it was a fascinating experience. Another more recent experience was the acquisition of two of my pieces from the gallery director and founder of Galerie Kornfeld and 68 Projects. Among, my first large-scale piece measuring approx. 170 x 120 cm. I was able to produce these works in museum quality, with partners who also work with artists, such as Julius von Bismarck or Stefan Heyne. Experiencing this with 27, was a memory that will accompany me for quite some time, I guess.

Berlin is home to one of the world’s most varied arts spot’s with long-standing institutions and art galleries. What is your position on the diverse art scene over the city? Are you somehow involved in it?

Berlin is indeed a very prestigious international art city. Especially when it comes to artists living in Berlin. Feels like every major artist has a studio in Berlin; or NY, or London. I am in contact with a few artists and art collectives here in Berlin. Also, with one or the other gallery or curator. Nevertheless, I am absolutely open towards being involved in other scenes as well. In fact, I like having international projects. Instagram is fuelling my interconnectedness to the international art scene. London is somehow a place, where my work gets some attention. Don’t really know why, but it’s interesting. Other than that, I would love to get more in contact with the scene in NY. Shanghai and Beijing start to have really interesting art scenes as well. Something for the future.

Work, by Vanessa Murrell

I am aware that your dad used to be an abstract expressionist painter. In this aspect, would you agree in saying that your practice has very much a “painterly” aspect attached to it?

For sure. Ralf Hanselle, art critic from Berlin, wrote a text about my work titled “Borderlines – Aaron Scheer and the painterly in the digital modernity”. I think all my pieces so far have a painterly quality to it. I come from painting with acrylic, oil, or spray paint. That’s how I started off. My father, as you’ve been mentioning, was a painter. My first influences were in painting, such as Katharina Grosse. But I very soon developed an interest in other bodies of works, such as Wolfgang Tillmans or Isa Genzken. I started to experiment around with collages, or photography. It soon became apparent that I would combine different techniques and mediums. The digital realm enabled me to combine everything. That’s where I am now. Nevertheless, my heart is in painting. But I try to expand what painting can be, or mean.

There are certain dualities visible in your work, such as the mix between high and low tech, your combination of the online and the offline, and the play between conscious and unconscious decisions. Can you clarify your views on these oppositions?

Difficult question. I think that tension is an important factor of what constitutes a good piece of art. It generates a certain interestingness, as tensions and even paradoxes result in ambiguity. It poses questions, rather than giving answers. Duality is a very interesting concept in creativity. Integrating what doesn’t seem to fit in the first place creates novelty, as the human mind is not really conditioned to deal with such ambiguity. Hence, not a lot of people try to integrate, or even embrace ambiguity. So, if you do, something new, innovative can happen. I embrace this principle in my work. High, low; on, off; conscious and unconscious are just logical consequences of what I’m experimenting with in my work. It developed along with time. Can’t really explain how it came into being. It’s all a process.

I am very interested in the variety of both the physical and the virtual series you showed us at your studio in Berlin. From “DaNA” to “Virtual Matter” or “Digital Archeology”, can you share the concepts behind each of these series with us?

Sure. Let’s start off with my DaNA series. It’s an acronym standing for “defining a new aesthetic”. At the same time, it emphasises “DNA”. I wanted to work with the topic of what constitutes the DNA of our digital age. And, the DNA of my work. Sharp meets blurry, squared forms meet organic ones, micro paintings meet the macro composition, and so forth. The series came into existence after having experienced with a wide range of techniques and styles. The series was somehow a synthesis of all former.

 

 

The overall idea in my Virtual Matter series is to “up-cycle” lost and found material from the virtual space, in ways that it gives back value to digital (virtual) matter. In a world where digital material, especially photos, are available 24/7, instantly and most of the times for free, the medium loses its value. On the other hand, access is being granted, which can be potentially seen as a way of democratising. The essential question for me here is to find the golden nuggets in the overload of images: on my phone, my laptop, and the internet. To consciously discover material in the virtual space that is been overlooked by fast digital consumption in the age of Instagram and co.

 

 

My Digital Archeology pieces have certain architectural elements to them. A bit like the majestic architecture that you’ve been mentioning in regard to Berlin. But a corrupted, distorted digital one. The squared color blocks remind the viewer of ruins of ancient settlements, being discovered in archeological excavations. Maybe one day, my pieces will be witness of the transition between physical reality and virtual, or blended reality. Or not.

Machines are central in your practice. From using them as a tool to make your works, to exploring ideas in relation to “the souls of the machines”. What fascinates you about these devices? Are you interested in conceptually becoming a machine?

Ok, deep. I have a love-hate relationship with machines. On the one hand, they’re fascinating me, on the other frightening me. I never really had an affection for machines, as they didn’t really play a big role at home. Human affection was always much more important than technology or mechanics. But, this is where my fascination is rooted as well. I could never really understand technology in depth, but wanted to develop a relationship.

 

The easiest to develop a relationship with tech for me was to humanize it. And I think art is at core a very human, maybe the most human product. Machines are made to perfectly perform. Errors need to be eliminated. Constant performance, literally 24/7 is a given. So I thought, what if I start manipulating machines and force errors? Do machines then become more human? Do machines have a soul? Do they interpret what we dictate them to do? Are machines creative, and can they add something to my work as an artist?

 

 

Parallel, I started to reflect upon my work ethic, highly influenced by a very performance-driven environment that I was embedded in, basically my whole life. And I could see that I, and many others around me, were becoming the machines. Made to perform, made for perfection. A logical consequence of a system that values performance over everything else, and where humans compete with machines, as a consequence. In that sense, all of us are somehow machines, already; even without chips being implanted into our brains.

 

Mechanical painting gestures, e.g. in my “Analog vs. Digital” pieces present this investigation. My “Printer Painting” series directly relates to my attempt to discover human aspects in machines. On a more general level, production and process play a crucial role in my work. Both aspects are connected to the question of the human in technology, and the technological in the human.

I am intrigued with the use of light installations, shadows and photography within your practice. Would you acknowledge that in relation to this medium, that the documentation of the work itself can become part of the work?

For sure. I recently experimented with installations in spaces beyond the typical “White Cube” setting. I wanted to see how my digital pieces can be arranged in a way that they blend into their environment. On the other hand, I wanted to see how the space and its objects can be used in a painterly way, so that the environment becomes part of the piece. Photography is a very powerful tool to capture and manipulate what can be seen and experienced. It enables to create compositions and focus. In that sense, the photographs become the pieces themselves, in addition to the installations in the space. Photography escapes the purpose of mere documentation and becomes its very own art form. I was working on the project with a Mexican designer, activist and photographer, Ana Paula Lafaire, and I will use the photographs for another show with Off Site Project. So stay tuned!

26.07.18

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Aaron Scheer