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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 9th June 2019

 

 

2. 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’).

 

 

3. 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 products in our shop 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.

 

 

4. 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.

 

 

5. 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.

 

 

6. 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 [email protected];

(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.

 

 

7. 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.

 

 

8. 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.

 

 

9. 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.

 

 

10. 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).

 

 

11. 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.

 

 

12. 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/.

 

 

13. 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.

 

 

14. 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 [email protected].

Beyond the visual: exploring the collective experiences of rhythm and sound.

Rhythm and sound, especially drums, are amongst the elements artist Appau Jnr Boakye-Yiadom brings into his work. He welcomed us warmly in his South London studio, and told us about the influence of music in his life and art, the importance of collaboration with percussionists and how these interdisciplinary contacts reconfigure his works. Movement is one of Appau’s greatest interests: not only as a dance, but also as philosophy, which transcends the linear cultural trajectories and narratives of origin. The artist explores how different cultural practices do not normally emerge from a singular, ‘authentic’ point of origin but rather from contacts between different cultures. This brings us back to the idea of drumming and how almost every culture has its own version of it. Thus, the incorporation of rhythm in Appau’s art helps us experience the works beyond visual perception. In this interview, you can read more about the artist’s interest in the relationship between viewers and performers, his choice to conceal the body and how this affects the above-mentioned relationship, and other cultural references beyond drumming that he keeps coming back to.

BACKGROUND

How did you first get interested in music?

Growing up in South London, I always loved the way music would impose itself onto you. Being amplified through cars, homes, and people singing along to music. I was always tuned in to these overt expressions of love and enjoyment and I loved the way it was infectious. During my teens, I was a real culture chameleon and had friends within separate cultural groups. I started working in high street fashion retail, where the majority of my colleagues would listen to dance music such as house and boogie. Alongside this, I also started to get into skateboarding with some of my friends whom I had grown up with and at the time this came with it’s own music scene. At college, I had a different set of friends that I would go to drum & bass nights with. I would share a love of hip-hop and R&B through hanging out and going to parties with cousins and friends. The connecting factor in all of this is that most of the music I was finding out about was through social interaction and the contagious love for music people would share. It wasn’t until my early twenties, when I started to collect vinyl, that I started to listen and discover things alone, but I would always share this, either through trying to Dj or casually playing music to friends and family. Listening session is my all-time favourite thing! Talking about what you love about a particular track whilst it’s being played. It allows you to project an honest fluency.

You mentioned that you felt like you had to follow material traditions in art school, and you graduated as a painter. How did you move away from the materials you were using back then? More generally, how did your practice shift since graduating?

Like most people who move away from the use of a particular medium, I found that I couldn’t convey my ideas through the medium. I became more interested in the entirety of a space over containing within a canvas and gradually begun working with installation. I also studied my BA at a time where Fine Art courses where mostly categorised as ‘Fine Art Painting, Printmaking or Sculpture’, although the work that I applied with was definitely painting. There was no expectation on the course to produce paintings. Painting of the three courses felt the most open to not being restricted to the medium, as there were a few people in my year that weren’t making paintings by the end of the course. However, through various things, I felt I was being influenced, being affected by culture outside of a “Fine Art” context. It wasn’t until I finished my postgraduate study that I began giving myself the permission to incorporate some of this.

WORK

You were telling us about your interest in keeping things unfixed, unstable and in a constant movement. There are objects, such as shoes, that you have used multiple times in your work. How does your approach to these objects change over time?

Movement as a philosophy is something that I am very interested in, as it encompasses every area of life on earth and more (i.e. growth, ageing space, sound etc.). Shoes have been used within various mediums within my practice. Of course shoes are a signifier of movement, but I am also interested in how they can form a portrait. The detachment they have from the body replaces the human pulse/energy with objects, lucid material, light and sound in suggesting alternative figures and modes of motion.

You recently completed a residency at Villa Lena in Tuscany – what public-facing event did you create? How did the change of scenery affect your practice?

For the residence, I had to produce a public facing event and there was a mixture of writers, musicians and artists. This meant that there was a mixture of events from readings, live music performances, etc. I screened a piece of work called “Untitled (Language Research)” from 2015 which showed the research behind a previous piece, “4minutes 6 of Conversation” 2014-ongoing. Within it, there’s a close look at non-linguistic languages through dance. Exploring where cultures collide, grow, merge and complicate. This 45min montage has had several works splinter off it, so I thought it would be a good starting point in discussing the different elements within my practice.

Music and dance are among the things you bring into your art, having collaborated with musicians and percussionist for live performances/ improvisations. How does working together enrich your own practice?

It allows me to lean into my work as being unfinished and ongoing, to research and be in continuous conversation. The introduction of the percussionist into an existing work always reconfigures it and in an exhibition, this permanently changes the work from what was originally presented. This is a way for me to explore my interest into when different cultural contact occurs and a new cultural expression emerges from it. I like this idea of things changing through contact and not coming from a linear trajectory.

In your works the artist/ performer is usually concealed. Why do you choose to hide the body?

I am interested in the relationship between the performer and the viewer. The performer is often concealed to remove expectations. In experimenting with performances where the viewer doesn’t have the privilege of being able to scrutinise the physicality of the performer and what that means within the context of a sound performance and their experiences.

Your work is not purely meant for viewing but also for experiencing. How do you go beyond viewing and how do you make an experience universal?

This is mainly through the use of sound and rhythm. In more recent years, the incorporation of a live percussionist is used to draw closer to this. I’m often working towards pieces where the different aspects or materials co-exist on equal plain working together.

The multiple layers of references and cultural narratives you use in your installations are fascinating. Can you tell us a bit more about the significant ones that you keep coming back to?

Rhythm is one, as this has something to do with timing in the context of giving the pre-recorded elements a live physical pulse. In terms of imagery, I often use color and photographs of fruit and vegetables in reference to movement in terms of imported food and plants found in other parts of the world from where they are commonly grown: its historical context, adaptation and influences. Drums are of course something I have continually returned to. I view this through the lens of every culture having there own version of this instrument and its various cultural uses. I often gravitate towards its bodily relation to the sound of the human heartbeat. Drawing upon its universal language and its use within collective experiences is something I like to explore and further understand.

We talked a great deal about how the idea of origin is unnatural. How do you convey this in your work? What are the things not included in the authenticity/ origin narrative that you discuss?

I feel like it’s a term that does not give room for things being or growing out of more than one thing. It is often used as a term to compare and align, which I find can be deeply problematic. Particularly when these terms find themselves used within culture when they are used associatively. With this, I mean winners vs. losers, good vs. bad etc. What this looks like and where one sits in this constructed spectrum. The ways in which they are leaned on to be all encompassing, I find can be bleak. I prefer to explore how culture and cultural practices are normally birthed from two or more different cultural contacts. I try and put all these ideas to question within all the material elements of my practice. Using ready-made objects, archive and performance is more about my interaction with these things rather than my depiction and how this changes with new interactions and experiences. Influencing ideas and as a result, works are often revisited and new iterations created.

FUTURE

Do you have upcoming shows/projects you’d like to share with us?

Keep an eye on my website, as I always try/keep these up to date with events and goings.

18.01.2020

Words by Victoria Gyuleva

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Madelynn Mae Green

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