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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.

“Catch for us the foxes, the little foxes that ruin the vineyards, our vineyards that are in bloom”

  • Song of Solomon, 2:15

Foxes – cunning tricksters of the urban night. They are an insistently present part of the fabric of the city – distinctive size, colour, tail – but they exist mainly in the liminal spaces of our perception. Darting in front of the headlights of a night bus; playing on the steep bank of a railway cutting; occasionally trotting down the side-alley of a pub at twilight, in plain view of the window-drinkers but disregarded by all.

 

Like mice on the underground platform or pigeons in the public squares, we ignore the foxes that coinhabit our urban spaces as if they are something distasteful. But there is something deeply primal and unescapably wild about the fox. That gut-wrenching call that sounds like the cry of a human child. That instantly recognisable nostril-flinching smell of rank musk from the fox’s mark-making. That surreal shock of coming face to face with a real, living, frightened animal that is so often absent from our urban and screen-focused existences.

 

There’s that fairy-tale element, too. Foxes, it seems, are easily anthropomorphised, perhaps because their resourceful hunter-scavenger lifestyles speak to an important element of the human spirit. From Beatrix Potter and Roald Dahl to Disney’s animated Robin Hood, foxes are everywhere.

 

They also appear in no fewer than 28 of Aesop’s fables, the most famous of which is probably “The Fox and the Grapes”:

 

One day, a fox spied a vine with a delicious-looking bunch of grapes hanging from it. He leaped with all his might to reach them, but he could not leap high enough. When he had tired himself out with leaping, he turned away. “Those grapes aren’t even ripe”, he said scornfully, loudly enough for some passing animals to hear, “it’s not worth wasting my time to get them”.

Although the Bible and Aesop depict foxes seeking grapes, in London it is usually bins full of wasted food that they use their cunning intelligence to access. Artist Nayoung Kang has defied the social convention of wilful ignorance by watching the foxes on her road in East London and tracking their movements.

 

As an insomniac, she gains a perspective on the urban environment that is seen by very few city dwellers. The foxes, she found, have a particular routine, waiting to ransack the rubbish bags until shortly before the bin lorry arrives, presumably because they have found that this is when they are least likely to be disturbed.

 

A native of Korea, Nayoung Kang was surprised by the presence of these urban animals when she first moved to the UK as much as she was by the way others seemed to overlook them. She found herself making encouraging noises to the foxes on her street, much as other people might cluck at a handsome horse in a field or coo over a stranger’s friendly dog.

Her 2018 project Moon Street (recently shown in Seoul) is an immersive environment that recalls the road-world of the foxes. A sound piece presents the artist’s encouraging whispers, while kaleidoscopic lighting evokes the ever-changing lights of the city at night: the rise and fall of the moon, the swing of headlights in the distance.

 

Lighting is also used to cast spotlights on elements of the installation, which is otherwise claustrophobically nocturnal. A pile of tarmac turns the plain building-stuff of roads into a lunar landscape, the dramatic shadows it casts playing with scale and notions of the sublime. Meanwhile, another spotlight points to the corner where a taxidermy fox tail emerges. Is the animal’s body just out of sight, mid-way through disappearing down a tiny hole in a Fantastic-Mr-Fox-style impossible escape? Or is this the once-bloody, dried-out remnant of a death caused – either deliberately or accidentally – through contact with humans?

 

An experimental model for the exhibition now sits in the corner of Kang’s studio, a small mountain of tarmac built on a structure of cardboard and plaster. Two fox-tails (one real, one faux) emerge from this, suggesting either a den (foxes are nothing if not resourceful) or a distorted example of roadkill.

Nearby are photographs of swimming pools, a sand-filled garbage bag made of glass, and a stack of sky-blue, perfectly imperfect plaster cones, pointing to a practice that utilises reference points such as human transformation of the natural world and the cultural construction of the tropical.

 

Taped to a wall are two paintings. The first depicts a fox again, turning its head to gaze at the star-filled window of a pink house that is emitting a plume of smoke. Those cones are here again, metamorphosing from man-made plaster forms to symbols of indeterminate danger. It’s unclear whether their forms are natural or unnatural, whether they recall the primal threats of thorns and shark-fins, or the ordered human signs of danger such as traffic cones. What’s also unclear is whether they protect or threaten the depicted fox, or the absent humans implied by the domestic context.

Next to this is a painting of a frog, with wings sprouting from its speckled back. It’s almost outlandishly folklore-ish, and in the context of Kang’s work and studio, it provides an anchoring point, reminding us of our primal and inescapable connection with animals even in the urban contexts in which most of us live, while also reminding us of the lengths many of us go to in order to ignore the insistent presence of those animals in our everyday lives and cultural imaginations.

15.06.18

Words by Anna Souter

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