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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.

Re-introducing the figure of the peasant to the present-day public

Sigrid Holmwood’s exhibition “The Peasants Are Revolting!” at Annely Juda Fine Art is a form of revolution in itself. It’s a cultural protest against the industrialised modern life, the general expectations of the 21st-century viewer, and the contemporary belief that the alternative futures are detached and distanced from the past and the historical baggage which it carries.

 

Holmwood reacts against the massive industrialisation process predominant nowadays by introducing to the public the concepts of ‘slow’ and ‘expanded’ painting. By painting ‘decolonially’, the artist raises awareness that Western art history of painting is just provincial; that the very notion of what painting constitutes of should not be limited by the Western European perspective only. Holmwood develops ‘an elastic definition of painting’ instead, based broadly on the general idea of applying pigments on a surface in order to form an image. Rather than using industrially produced paints in tubes, the artist makes her own pigments, researching both historical and scientific aspects of the colour-making technique. Thus, she explores the medium of painting, a medium with such a long and dense chronicle, in its purest state, materially.

Apart from the critique of the automated modern life, I mentioned earlier that in a way, Holmwood revolts against what we may expect as contemporary viewers. Her images are representational and clear; the stories, the engagement of the characters are distinguished by a how-to-manual: some of the sources for her images are derived from the Florentine Codex – General History of the Things of New Spain, and a 16th-century description of fighting by the German bureaucrat Paulus Hector Mair. However, even if it’s tempting to do so, one should resist to be spoon-fed by the works’ narrative. The essence of Holmwood’s play with the contemporary eye, unaccustomed to look at representational images, is to, once again, make us see “decolonially”

Another significant point that the artist makes in “The Peasants Are Revolting!” (and in her works in general) is that by exploring the past, we may also explore the present and the future. For instance, analysing the historical role of the peasant leads us to “explore many issues about where we are now.” (as quoted by Sigrid Holmwood). According to the artist herself, in order for us to deal with the contemporary and even with the upcoming, we have to deconstruct the narrative of history first. Indeed, this is what makes the exhibition so valuable: it teaches us a history and a humanity lesson, but it also opens our eyes for the inseparable connection old-new.

The historical role of the peasant is reserved: the peasants are not working, as they are depicted usually, but enjoying the fruits of their labour in the land of plenty, Cockaigne.

 

Holmwood was inspired by Bruegel’s piece of the same name. However, while Bruegel’s depiction of the land of plenty is often read as a comical illustration of sloth and gluttony, Holmwood’s work is flattering: her ‘characters’ are resting because they deserve it; they have earned the right to live in this fantasy. Another difference from Bruegel’s iconography is that the contemporary artist has chosen not to depict the actual earthly pleasures (food and wine): thus, ‘plenty’ is not just a literal physical state of enjoyment but an abstract and spiritual pleasure.

 

It’s interesting to note that Holmwood noticed a prickly pear cactus in Bruegel’s painting, and she decided to include it in her piece as well. She interprets it as possibly Bruegel’s reference to the new import of cochineal at that time, thus claiming that the land of plenty is actually in the Americas.

When it comes to history lessons, I’ll steal a minute of your time for what seems at first an irrelevant fact: in 1938 Crane Brinton published a book called “The Anatomy of Revolution”. Brinton believed that most revolutions fit into seven stages: normal (the initial state before the revolution takes place; the regime currently in power), criticism of the existing regime, widespread dissatisfaction, transfer of power, civil war, reign of terror, and thermisorian reaction (the period of recovery from the ‘fever of revolution’). While it may be too far-fetched to compare the stages with the exhibition, one can still see some of the points that the artists allures to. For example, if we accept that the current order of the world is in the initial step, dominated by “the dehumanising tendencies of modernity/ coloniality which separate nature from culture,” (Sigrid Holmwood) then through the interaction with plants, earths and pigments in the fieldwork research centre “Joya: arte + ecologia“, the artist reshapes this oppression. Holmwood shows the relationship between nature and culture as an entity rather than an opposition.

 

Painting with flower and song is a fine example of the resolution of the conflict: the harmony is achieved both formally and pictorially.  The act of painting and its representation are made possible through nature: the pigments are “not just a tool but a collaborator” (Sigrid Holmwood). The background, the pattern known as pleitas, strips of woven Esparto grass, is visible through the figures but it doesn’t dominate the painting overall: visual harmony is achieved.

Inevitably, a revolution is marked by terror and Holmwood pays a tribute to this stage as well. The series Instruments of torture are unusual: the tools of torture are deprived from their practical use; they exist in the pictorial space just as every other tool in the paintings, perhaps because historically they were a part of the peasants’ lives and destinies. Once again, the artist opens our eyes, the eyes of a contemporary viewer that is not used to see violence in such a direct and at the same time delicate manner.

 

The Peasants Are Revolting! is definitely worth seeing: it teaches as a lesson without being patronising; it raises debates, but it also resolves internal conflicts. The seemingly easy to digest images play with our contemporary perspectives and make us go out of our shells as twenty-first-century viewers.

22.06.17

Words by Victoria Gyuleva

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