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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.

The Apparatus of Materiality

Art is inherently concerned with materiality. In sculpture, this concern usually manifests itself as an interest in the cultural associations of the materials used; the relationship between the physical presence of the sculpture and the human body of the artist and viewer; and the artwork’s identity as an object.

 

But much contemporary art and art criticism – whether deliberately or otherwise – often ignores the apparatus and systems that go into producing this sculptural materiality. Similarly, the effect of this materiality on the place where the sculpture is sited, or the place from which the elements were sourced, is often a secondary consideration, if it is considered at all. Many works often appear to overlook the complex web of production, transportation and installation necessary to exhibit a work of art, and the footprint that these activities can leave.

 

These networks of cause, effect and influence are mostly almost invisible, much as the apparently fleeting nature of activity on the Internet masks the vast, energy-intensive server farms and physical infrastructures that enable our digital lives.

For Marco Miehling, working primarily with sculptural installations has made him aware of the apparatus necessary to produce a site-responsive work. Most such pieces are necessarily installed for a finite period of time, and Miehling’s practice engages with the question of what it means for an artwork to be both temporary and responsive to the place in which it is sited.

 

For an artwork to be temporary could mean simply dismantling and throwing away a sculpture after an exhibition, marking the end of the work’s existence. For Miehling, however, who draws his materials either from the natural world or from the construction industry, this would be to ignore the legacy of the process of making the work, as well as the potential inherent in the work and its component parts.

 

Many of his works are constructed using building materials, which are generally standardised and available across most of the world. This allows the artist to source his materials relatively locally to each sculptural intervention, reducing the impact of unnecessarily transporting heavy materials long distances and allowing Miehling to create his works on an effectively nomadic basis.

Furthermore, the universal availability and applicability of these construction elements allows the work to be dismantled and reassembled – sometimes in a new format – with relative ease, helping the artist to transform the installation into a new work at the end of the exhibition. Because Miehling makes few structural changes to the original materials that go into his sculptures, they can even be returned to use in construction, gifted to someone building a house, for example, creating a dialogue of re-use.

 

In other cases, Miehling uses materials from the natural world. For his graduate show at the RCA, for example, he sourced a fallen tree trunk from Green Park, a process which involved communicating and collaborating with the gardeners and organisational authorities of London’s Royal Parks, drawing new parties into the dialogue of his artistic production.

 

He then sited the trunk in his exhibition space, using Dyneema rope to anchor it to the floor of the building, creating a tension between indoor and outdoor space, and transforming the wood from material into an object. In its next iteration, the tree trunk was taken back outside, to Hyde Park this time, where it is sited by the Serpentine and used as a bench. Here it will continue to change, with the weather and the seasons, until eventually it might rot down into the earth.

The tension between indoor and outdoor is essential to the history of sculpture as a medium. From a monumental figure in a public square to a Henry Moore reclining figure in a rolling rural landscape, sculpture has a long tradition of engaging with the viewer outside the walls of a domestic, institutional or gallery space.

 

A sculptural intervention inside almost inevitably leaves its mark on the fabric of the building. By drilling a hole in the concrete floor of his exhibition space to anchor his tree trunk, Miehling has indelibly changed the material fabric of the space, even if the hole is later filled in and smoothed over. To see these effects on a larger scale, visit the Academicians’ Room at the Royal Academy, where what looks like woodworm in the bare panelled walls is actually a myriad of holes left from the hanging of 250 iterations of the annual Summer Exhibition.

 

To make a mark on a space is not necessarily a bad thing; our mark-making is an inevitable factor of living in architecture, and it would be ridiculous to suggest that art should – or even could – be traceless. But it is important for artists to be aware of the holistic cause-and-effects inherent in any work of art beyond the physical limits of the piece itself.

The installation of a sculpture outdoors can make a similarly impactful mark on the environment in which it is sited, such as the pouring of a concrete plinth for heavier works. Hidden beneath the ground, most viewers will be unaware of this foundational earthbound structure. It reminds me of the unseen construction processes surrounding wind turbines. Although once established they produce renewable energy, their implementation causes widespread disruption of wildlife habitats, while over a thousand tonnes of concrete is required to create each turbine’s base. The production of cement (the main element of concrete) is the third largest source of man-made carbon dioxide released into the atmosphere globally.

 

Once again, it’s not helpful to say that artists shouldn’t make these works, just as it’s not helpful to unequivocally condemn wind turbines. Instead, artists could take these factors into consideration, evaluating a work’s impact from a diverse range of viewpoints.

For Marco Miehling’s upcoming installation Among Her Leisure Occupations is Birdwatching at Contemporary Sculpture Fulmer (a sculpture garden in Buckinghamshire), he has explored the potential for give and take in the specificity of the outdoor site. Where an installation indoors generally necessitates bolting materials together and attaching them to the floor, the relative softness and mutability of the earth allows the artist to experiment with using the forces of friction and gravity to balance sculptural components that are pressed into the ground, working towards a piece that is easily assembled and disassembled and leaves only a minimal, considered impression on the site.

 

Miehling’s practice recognises the apparatuses and networks of cause and effect behind the material presence of his works, the systems that go into their production. This awareness allows him to consider to a fuller extent the mark that an artwork will make on, and the ways in which it can be responsive to, the place in which it is sited.

 

Royal Society of Sculptors Spotlight Award 2018: Marco Miehling – Among Her Leisure Occupations is Birdwatching is currently on view at Contemporary Sculpture Fulmer. For more information, visit here.

15.06.18

Words by Anna Souter

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