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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.

Meet the artist who’s dissecting the language of instructions

Amanda Kyritsopoulou interrogates her art practice though an instructive lens, in which she pulls the links between instruction, repetition-through-failure, and learning. With commands, she believes that “we learn and therefore embody the language of prescription.” Her practice takes form with the use of a diversity of mediums, coming from a self-imposed mantra that she should test the idea of “whatever works for the work”. Her most recent video works are built with a strong educational feel, almost with an overly explanatory approach, “like a ‘learning the a-b-c ‘ teaser”. To understand why she builds on cliché strategies of how leisure, sports, learning, fun, and wellness are represented in popular contexts, I sat down with Amanda in between unfinished works at her Royal Academy Schools studio.

 

Amanda Kyritsopoulou (b. 1989, Athens, Greece) studied Environmental Engineering MEng at the Technical University of Crete, Greece, along with a BA in Fine Art and History of Art at Goldsmiths University, London and is currently completing an MA in at The Royal Academy Schools. She has exhibited at The Royal Academy of Arts (London), Goldsmiths University (London), Depford Project Space (London) and APT Gallery (London), amongst others. Residencies include the Treignac Project, Treignac, France. Amanda is currently living and working in London.

Background

Would you agree in saying that your studies in Environmental Engineering at the Technical University of Crete, Greece have influenced the way you technically plan and configure your complex structures?

I understand how a lot of people who get to see my process and designs make that connection. However, object oriented design was not really part of my curriculum in Engineering school. Having said that, engineering studies in general do revolve around the question of how things work, or more precisely why things work the way they do; this is a question which informs big part of my work and moulds my approach to sculpture more specifically, from extremely different perspectives nonetheless.

How has your knowledge in art history and music, specializing in piano, influenced the way you think about your works?

The influence of my music background in my art-making process is still abstract to me. Music offered me a first point of contact with the notions of form, content and non-verbal language on the whole, or even this sense of producing worlds of feeling and representations, from a young age. Then being able to use such a large intimidating object like the piano, felt very empowering when I was a little girl. In the very present moment, my music skills have served as a great way to make a living and survive the demanding, almost unsustainable, London living standards . I’ve only recently started experimenting with audio, as part of some videos I’ve been working on and would be curious to work with made-up music parts , I use the word ‘made-up’ just because ‘composing’ sounds much heavier and formal than what I have in mind. Visual culture studies, more than ‘art history’ on the other hand, has been a major catalyst in the ways I think about my work. To begin with, I learnt so much, accessing theories, ways of seeing, ways of practicing, that I never knew before. At the same time, it has made things more complex in the studio, introducing this element of critical distance to my making process, which is always a tricky task. Taking the time to ‘check-in’ with this thing that I might be making, attempting that almost doomed, but still necessary effort to frame where it stands on a broader scale, in terms of the discourses and all those various trajectories and histories of ideas that it might be ‘tickling’ and playing with, is a territory which conditions a significant part of my decision-making process.

Can you identify creative turning points in your career so far?

One turning point was my last year in Goldsmiths, where after spending enormous amounts of time in the workshops, I reached that point of confidence that I can actually physically and technically make big part of what I tend to design on paper. Second turning point is maybe happening now, where having gained that self-reassurance I am asking myself ‘what now?’ .

What do you enjoy most about your current Postgraduate Degree at the Royal Academy Schools?

I am enjoying the diversity of career stages of the students. There are people like me who have just graduated from an art course, while also artists who have had quite some time of independent professional practices. I am also enjoying that I don’t feel so much like a student, but more like a resident.

Current

You’ve spent many years as part of educational systems both in Greece and in London, and many of your works present educational approaches to notions of instruction. What fascinates you about that subject matter in particular?

It is the idea that instruction is a language in itself. It’s everywhere, from the smallest object to large environments and architectures. Then there is this weird link between instruction, repetition-through-failure and ‘learning’ , where the context of educational institutions stands as a good example; we learn and therefore embody that language of prescription. If I choose to see everything through that instructive lense, then I cannot help but wonder where are the loopholes? That’s the more fascinating question I guess.

How do you find and select the materials for your sculptures? Can you develop on your material decisions in relation to one your works in progress, based on a steel Anvil?

I work a lot with wood and plasticine, as they enable me to work with this idea of a ‘model’ like structure, somehow they capture a little of the object in its making. Other times, I might find something on the street or in a second hand store and keep it in the studio, although it usually takes a long time for something found to come into context. The anvil sculpture is a ‘roughly-estimated’ replica from the digital image of an anvil. For this work, I am interested to use materials like timber, foam and clay which are quite elemental for making anything while at the same time, if left uncoated, their surface reveals their inside. One of the things that attracted me in the materiality of an actual steel anvil is how it’s made from a singular, dark, solidified substance, which also conditions its functionality. My fabricated anvil is a much more porous and interdependent-of-its-separate-parts version.

What draws you initially to work with such diversity of mediums, having experimented with sculpture, installation, textiles, photography, and most recently video works?

Well this comes from a little self-imposed mantra that I should test ‘whatever works for the work’. Not everything can be translated into one thing all the time. I’ve actually spent a lot of time in the past, just working with sculpture and nothing else, but have come to feel that a lot of things get lost in the process of working with an idea and persisting on a singular mode of making bears this danger of narrowing things down rather than opening them up. From a more ego-centric perspective, it’s also very fun to work with different processes.

Can you tell me more about the way you expose stock images in your recent video “I’ve Never Had A Pet”? Is that apparent abstraction through close-ups a way to transmit simplicity?

Depending on what is meant by simplicity. I would say that this image-abstraction is a way to create nuances of simplistic-ness. It’s more the overly simplistic than the simple that I am interested in. Stock imagery is so raw in its prescriptiveness, fakeness and representation that I wanted to kind of water it down and work with abstraction as just another cliché along the a way..there’s a bit of sarcasm in all this.

In reference to the mentioned series of video works, they have a strong educational documentary feel – given the tone of the voice, along with the direct links between the images and words. Was this a conscious decision?

Yes, I wanted it to be a bit overly explanatory, like a ‘learning the a-b-c ‘ teaser. At first I worked with different kinds of found moving image and felt that things got too metaphorical, where there was no need for a metaphor whatsoever. It was interesting for me to see how this spoken word and image overlap can actually produce the same kind of claustrophobia, as that narrated in the voiceover. It’s not really a ‘pleasant’ work is it.

Is the viewer’s interaction a fundamental part of your works – such as in “tablet template” or in “Pawn”?

It is important to read the interaction the minute you see the object. It’s a point of access to the work that’s not based on strictly aesthetic contemplation. It makes the encounter a bit more playful and bodily. However, this interactivity is not to be enacted. I haven’t ever really made interactive objects , but in the scenario that I did, because never say never, I would aim for more complex exchanges than just moving parts or fixing parts or pulling strings and turning knobs etc. ‘Pawn’ is again more of a ‘performance gear’ rather than an interactive object in relation to its viewer.

Are you interested in building on cliché strategies such as marketing, advertisement, promotion, or presentation, while slightly disturbing them?

Yes I am, although drawing more specifically from the strategies of how leisure, sports, learning, and fun and wellness are represented in popular contexts.

Where do the titles for your works come from? Is there a meaning behind every title?

Titles make my life difficult. There’s no strategy there. I play it by ear with every work, perhaps I shouldn’t. I often note little sentences down at the back of my notebook. For example, the other day I was on the plane and noticed how the little dividing screen between business and standard class has different patterns on every side. I was on standard class, so it was just dotty. On the business class side it was an over-the-top exotic flower pattern. So I wrote ‘plain dots for the rest of us’ at the back of my notebook. Haven’t used it anywhere yet.

You are currently working in a new series of photographs that marked your holiday stay in the Bahamas. Can you tell us more about this work-in-progress?

I went there two years ago to work as a nanny for a family and just because I didn’t have any time off to explore on my own, I started taking those pictures of palmtrees, because it was literally the only thing that I could actually take a picture of, that could mean something about that place. They were not meant for artworks, but looking at them in retrospect, I felt that the repetitive variation of the shots also communicated something about the somewhat constrained situation that I found myself in. They’re shot in film and I’ve printed them out in glossy photographic paper to accentuate the cliché of the exotic landscape, so they look a bit like blown up postcards. I am not sure where they stand in terms of the rest of my work in progress, but we’ll see. I imagine them potentially functioning as wallpapers, interfering or being wrapped around the architecture of the space they’re in. That’s all I know about these photographs for now.

15.06.18

Words by Martin Mayorga

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