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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.

Dissolving the borders between mediums.

Artist Nick Jeffrey is not one to miss. Since moving to Berlin from London over 10 years ago, recycling has become a dominant method of working for the artist, who habitually re-uses, re-contextualised or re-interprets his ideas, describing this process as “a mental and physical journey”. His approach to working is extremely “practical, visceral, and physical”, as he puts it. When he’s not making paintings, Nick Jeffrey is putting together videos to feature on his audio works. His mediums cover everything from physical to digital, along with an entire spectrum of processes in between. His works move steadily from one medium to another one, and often several of his works run concurrently, overall impacting each other. As experimental as he is collaborative, Jeffrey cut’s across the norm: he’s currently carving out an online space due to open in 2019 for artistic development, not just to exhibit art online, but also as a curatorial experiment, in which artists will have direct and full control over the curation of their works. We caught up with Jeffrey in the midst of Gallery Weekend Berlin to discuss collaborative ideas, medium crossovers, and why he’s starting to question the longevity of living and working in Berlin.

 

Nick Jeffrey (b. 1984, Rinteln, Germany) graduated from Chelsea College of Art & Design, London, along with completing a Masters Degree at the Royal College of Art, London. He has previously exhibited at ASHES/ASHES (New York), Hannah Barry Gallery (London), Dzialdov (Berlin), Horse & Pony Fine Arts (Berlin), Sydney (Sydney), amongst others. Nick currently lives and works in Berlin.

Berlin, by Martin Mayorga

When and why did you move to Berlin? How has your work evolved since then, and what struck you about Berlin when you relocated?

I first moved here a few months after finishing my BA at Chelsea College of Arts in late 2007- 2008. Initially, I shared a large studio with two close friends at Uferhallen, and the first difference after coming from London was the extent of space and openness both physically and mentally pulsing through the city. It was a different time back then, even though it was not that long ago, buildings were empty and it was cheaper. I would say Berlin has now changed completely, which is especially noticeable when you’re permanently living here, however people were saying the same thing back then, that the city was changing. It’s constantly shifting.

Berlin’s overwhelming art scene, architectural majesty, and energetic vibe is what makes of this city a creative meeting point for art insiders. What is the role of the city within your practice?

The city doesn’t really have a direct connection to the work at all.

What is your routine like in the studio, usually? Does the fact that your studio space is located in your house control your daily practice? How do you find the balance between work and life?

By remembering to go outside once in a while.

Can you identify creative turning points or significant encounters in your career based in Berlin, so far?

The exhibition ‘Dream Divider’ in 2016 at Horse and Pony Fine Arts (curated by Carolina Ongaro) was a kairotic moment, in terms of discovering a heightened relationship between the paintings and the films, as well as in wider fields of collaboration.

Berlin is home to one of the world’s most varied arts spot’s with long-standing institutions and art galleries. What is your position on the diverse art scene over the city? Are you somehow involved in it?

I’m starting to question the longevity of being here. The city is saturated in terms of the amount of artists working here. Galleries also seem to be gradually closing, faster than new ones opening up for example, while the city is increasingly leaning towards corporations. It’s the end zone! Other than being a practicing artist working here I would say no.

Work, by Vanessa Murrell

You work with a variety of mediums, including painting, photography, and videos, amongst others. How and why do you incline yourself to move from one medium to another one?

At the moment, I’m just focusing on painting, film, and audio, although with the audio I would say that it is still in the early days. Over time, I’ve found having certain mediums running concurrently really helps the practice overall. When you’re nodding off on one or having difficulty and need a break, you can pick up the pieces of another and start putting them together, which in turn impacts the other work. There’s practical reasons as well: economy, as film and audio are inexpensive to make at this point, and are relatively non material, object based, unlike painting, which is refreshing. All the mediums rub off and layer into each other and the borders between them are dissolving and becoming thinner, especially in terms of ideas for installation constructs. A friend, Alex Bacon, once described the studio as an alchemical site, and that is a perfect summary of the current studio.

I was struck by your TV paintings. How did these works spark and for how long have you been making them?

The first TV painting: ‘Untitled (Television set in a living room)’, a smaller 40 x 30 cm work, from 2016, was hanging in the studio for a long time, overseeing the other series of paintings. I tend to rotate if anything is up on the walls gradually, but that stayed. In the production of the work, the atmosphere it protruded somehow, unknowingly radiated into some of the other paintings that I only discovered after the last solo exhibition, ‘Folk’, at Hannah Barry Gallery in 2017, even though it wasn’t in the show, and since making that connection, I’ve decided to focus on them as a singular body of work, and have been working on them since.

You initiated a project space in Berlin, in which you invited artists to make works. What can you tell us about this project? Has this curatorial aspect influenced your practice?

ideal uh-huh took place in the studio periodically, when it was less full, so in its current state, that has not been possible, so the project has been on hiatus for some time now. The next stage of ‘ideal’ will be purely online, which is in the very early stages of development, and the aim of the site will be far more open, to the point where the artists have direct control over what is shown online, rather than a tighter curation. Aiming for that to be ready in 2019, and sure it will crossover in some way with the current practice.

There is a strong handcrafted sense in your practice. Is this a deliberate effect? Is it important for you the use of recycling methods within your works?

It’s an extremely practical, visceral, physical approach, and a work’s “success” rate plays a part, otherwise you just end up buying and consuming materials aimlessly, which feels weird, especially if things are slow to leave. If you’re working on a series, for instance, you tend to re-use, or reinterpret a specific idea just in various ways, which I find to be a mental and physical journey alongside the materiality of the work. So, recycling plays a really important part, also in terms of layering and to re-contextualise the work, as well as within the space.

You’ve recently released your second solo sound EP. Is it a collaborative work? How did this project come across?

The films tend to have soundtracks that are loosely close collaborations with another artist (at present with Ana Jikia) that will hopefully be a more intensive collaboration over a series of new films. Music/sound features heavily in the studio anyhow, often to the point that I’d say it goes beyond just having music or something in the background to work to. So, it felt natural to go back and have a go at production, as well as recently making videos specific to the audio. Currently I’ve started working on the next EP.

07.10.18

Words by Martin Mayorga

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