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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.

Lian Zhang, the first mainland Chinese woman to open a contemporary art gallery in London.
Being the first mainland Chinese woman to open a contemporary art gallery in London is something to emphasize when discussing Lian Zhang’s career, founder and director of Lychee One Gallery. Since opening the space in 2014, the multifaceted gallery has been a meeting point for contemporary Eastern and Western art. With more than thirty shows in their roster, the gallery has been based, for over four years, in Pritchards Road, where Lian and Zhuomin, gallery founders, have built a strong identity and reputation along the arts community in London, not only in terms of the style of work they present, that goes beyond individual traits, but also with their collaborative curatorial approach, where artists and outside curators are often invited to take part of. Now, moving to a new and innovative space in London Fields, they will implement a more ‘commercial feel’, although the concept will remain the same, supporting emerging artists, opening out the vectors for the realisation of “impossible” projects, the exploration of new writing models, and the presentation of experimental performances. In this intimate interview, Lian opens up about how she supports young artists through her gallery model, and the slow but worthwhile process of setting up a new exhibition space.

Background

First things first, can you tell me more about yourselves, and what is your background?

I had my first MA at China Academy of Art, second at the RCA, both being in Fine Art. My father used to do import and export business; I guess I was unconsciously influenced. James used to be a computer engineer, he became more and more into art after settling with me, eventually, he decided to quit his job and join the gallery.

Why did you decide to open a gallery in London? Are there any other formats you work with in the arts, aside from your gallery?

After graduating from the RCA, I decided to stay in London and set up my own platform to support myself and my friends. Besides my own gallery, I continued my painting career by working with other galleries, occasionally teaching art students at home and curating shows for older generation Chinese artists at various locations in London.

You offered a gallery and project space for experimentation and conversation at Pritchards Road, London, where you have been based for the last four years. What is the concept of the space? Has it achieved your initial intentions?

We tried to make the most of the space in the past four years, and we certainly achieved many initial intentions, such as supporting young artists, opening out the vectors for the realisation of projects, exhibitions, the exploration of writing modes, and the presentation of performances. Also, in a broader sense, I feel that we contributed in creating a dialogue between contemporary far Eastern art and Western art, a factor that is perhaps not so easy to measure.

Current

Your very first show, back in 2014, was a solo presentation for artist Lily O. Which other artists did you start with, and how have you expanded / evolved your program since then?

My tutor at the RCA, artist/writer Jonathan Miles, who helped a lot with writing, curated the first Lily O show. Other artists I started with also had an RCA background, so I think there is an organic connection between us. Freya Douglas-Morris, Marlene Steyn, Zhu Tian, Bea Bonafini, are core artists of Lychee One, and so, I tend to work with artists who feel a proximity to, and obviously an admiration, based on aesthetic forms they employ. I also found amazing artists from the RA, Slade, Goldsmiths, and on Instagram. We have both worked with individuals, but also developed a style of presentation of work that goes beyond individual traits.

I understand that one of your main goals through the gallery is the development of an intellectual culture within the arts, and the commission of experimental projects. Could you tell me more about your gallery program?

We have always experimented with different ways of writing about or introducing artists’ work, and this extends into the use of the voice in terms of live performances.

London is a really competitive city, including in the arts…how do you manage to make a mark in such a competitive industry? What are the risks or satisfactions you’ve found along the way?

To open up a gallery in a city that I had only been in for two years was a big risk. Luckily, I had little experience as gallerist, so you could say that this ‘innocent courage’ allowed me to carry on. As the first mainland Chinese woman to open up a contemporary art gallery in London, I think I am making a mark here. Just like raising children,
there are always more satisfactions than pain. Spending time with artists, putting a show together, selling works for them, even watching them grow stronger is enough to leave me.

You are currently moving to a new space in Gransden Avenue, London. Do you think this change will affect the concept of your gallery somehow? Will the space influence at some point, the upcoming shows for your gallery? What are the difficulties that you have faced during this process?

The new space will have a big window front, which is very different from our previous hidden space. The new look definitely has more of a commercial feeling to it, but the concept will remain the same. I have experienced certain difficulties communicating with property agent and construction team. The targeted completion date was set to be on the end of March, but almost five months later I am still waiting for the floor to dry.

‘Lychee’ is an exotic fruit, from the soapberry family. What is the story behind this name? What about the logo of your gallery, what does it mean?

I wanted my gallery name to be opposite to most of the masculine commercial galleries, something lighter. The word “Lychee” is translated from Chinese to English, the logo is the Chinese character of “Lychee One”, so I think it looked good as logo. Lychee Liquor is the iconic drink every Chinese restaurant would serve, so if Lychee has almost a sentimental feeling, then “Lychee One” has a tougher edge as well by virtue of this non-signifying “One”

Your gallery represents artists Aishan Yu, Chantal Faust, Lian Zhang, Marlene Steyn, Zhu Tian, or Freya Douglas-Morris, amongst others… having said this, I see a strong dialogue between Eastern and Western art. Is this something you embrace? What is the connection between these artists?

I present a mixture of Eastern and Western artists, so what happens in my gallery is the same. Those artists all have very different approaches in art so there is a lot of mutual influence that occurs.

You have launched some interesting publications with a variety of contributors, which you sell through your website. Do you also sell art or editions online? What is your position on this?

Not yet, but we are open to all possibilities. We have just joined Artsy!

During your past exhibitions, you’ve invited outside curators several times, as Jonathan Miles, Eliza Bonham Carter, Emma Bäcklund or Àngels Miralda, to bring their curatorial approach to your shows. Is this a statement for you in terms of collaborations?

Yes, I enjoy working with curators, it is a way to learn from others, and I get to know more artists from the standpoint of other eyes.

There seems to be a dialogue between your gallery and public events, especially performances. What is, according to you, the role of a gallery, nowadays?

To do what machines cannot do.

Can you tell me more about your curatorial approach? When you don’t invite outside curators, are you the ones who curate the shows? Are the
thoughts of the artists in this aspect important to you?

I invite artists I ‘d like to do a show with, introduce them to a writer, or they tell me their preferences. Artist’s thoughts are important to me. Most of the times, I just let artists to install their works, or even curate the show.

How does digitalization affect your work as gallerists? Has this been favorable to your gallery at all? What are your thoughts on the social media?

I was born in the digital age, so my way of working and even living, is shaped by all the machines that are around me. For me, the online platform is an extension of the physical space, for instance, I have discovered many artists from all over the world, and sold many works though Instagram or Wechat.

I really enjoyed your last show at the Pritchards Road space, which was a solo presentation for artist Bea Bonafini, an artist that we are vey familiar with. Could you tell me more about your relation with Bea? Was there any struggle during the installation of this show?

Bea is an artist I have been following since her graduation show, so I invited her straight away for a group show in Lychee called ‘Summer Blue’. For her solo show, I offered her the space to produce new works for one month, she enjoyed the “residency”, and as you see, the outcome is great. There were a few anxious moments during the positioning of the works, but I feel that it worked out well. I admire Bea, not only as an artist, but also because of her almost heroic temperament that I find really fascinating. We went to Art Basel together, she stopped a train door from closing on me with her bare arms!

As a gallerist, I assume you collect art. What can you tell me about the favorite piece, from your personal collection?

I wouldn’t say which one is a favorite, but there is one very special piece called “Her mit she named her Billy”, I collected it from Marlene Steyn’s graduation show before the gallery opened. The painting is 230 x 210cm, too big to fit in the elevator, so my poor husband and our security man carried it up to 6th floor. It has been hanging in our living room for the last five years, so has also witnessed the birth and every birthday of my little girl. Paintings have eyes as well, so they see everything.

It seems like art fairs are dominating the art market, making it a completely necessary event to participate in for a gallery, and more often there are new fairs in new cities… Can you tell me your thoughts on art fairs?

Art Fairs are certainly good for promoting galleries and their artists, if finance isn’t a problem. If it is, maybe there are other ways for smaller galleries to be able to raise funding for their ongoing projects.

Future

From screenings and performance, through painting, sculpture and site specific projects… what else is left for your gallery to do? In which other
ways are you planning to create conversations between artists, gallery, and viewer?

We are planning to organize lessons, workshops, and even food stalls, London Fields Park is just 30 seconds away, so we might use that as an advantage!

If you could put together a show with any artists, alive or dead, in your space, which artists would you choose? What would be the name for this exhibition?

24.09.18

Words by Martin Mayorga

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