Close

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].

Sweat Patch: Making Art at the Cliff Edge.

 From London to Goa, two reflections on the absurdity of making art in the current “climate”.

 

Neena Percy

 

I’ve begun questioning my role as an artist in the face of climate change. I am fortunate to be living and working in Goa, India, assisting performance artist Nikhil Chopra, whilst working on my own practice in a small flat, with a balcony overlooking a tidal river. Here, electric blue kingfishers and noisy crows populate the mangrove shrubs opposite and rich, red earth feeds the crops that local farmers grow. At dawn and dusk fishermen haul by hand heavy nets onto the seashore. Unlike in London, where the infrastructure is so fully consolidated and our impact upon nature feels more distant, here in Goa the relationship between humans and the environment can constantly be seen and felt. 

 

 

Fuelled by international tourism and a growing middle-class, construction work has been rapidly building over Goa’s lush natural landscape, with scattered rural villages becoming seeds of urban developments. Walking along a beach not yet cleared for tourists means stepping on shredded plastic bags or sand-filled nappies. Without a government-run rubbish collection, the free-roaming street cows are sadly doing that job, their stomachs swelling from it. Yet India is going through the changes that have already shaped Western developed countries. The UK, the first country to industrialise, has for centuries fuelled climate change. Having taken a long-haul flight to Goa and contributing on a daily basis to waste and energy consumption, I have never been so viscerally confronted with my own complicity in the global problem.

I began discussing the making of art while caught between this paradox with Shivani Gupta, a photographer and performer, who has been living here for years, witnessing Goa’s transformation. For Shivani, nature and the environment in which she lives is becoming an ever-growing subject of her work. I visited Shivani’s home and we went for a walk through some abandoned fields, dried up due to a recent incident of construction workers polluting the village water. Past the field and amongst coconut palm groves, several villas lie in ruin, as they do all over Goa, bulging trees taking root in their crumbling layers of red rock brick. Nature reclaiming its territory.

These ruins have become the backdrop to Gupta’s new video works: black and white vignettes depicting fragments of her body performing subtle gestures. Slowly these images reveal themselves to be moving. With an echo of both Surrealist painting and collage, and 1980’s feminist photography, it is the presence of nature that makes these works feel most current. In one clip, an awkward set of limbs protruding from an old window frame shuffle around aimlessly against the backdrop of a silently passing river. These absurd actions see the figure almost disappear into the wider deserted scenery, her limbs moving repeatedly on a loop like swaying branches. Her videos invite us to reconsider the spaces around us, their histories and futures, and our interactions with the built and unbuilt environment. 

While nature has always been living around us, beneath us, sustaining us – and artists have throughout history drawn from, or made things out of it – the presence of nature in art today is highly charged in a new way. We continue to marvel at its beauty with awe, but also point out its weaknesses, defenceless as it is against our actions, inviting viewers to become entangled in its branches and more considerate of its urgent plea. India has this year suffered severe drought, flooding and storms of record-breaking magnitude; all of which deepen poverty, water scarcity and cause loss of livestock, livelihoods and lives.

 

 

Each of us humans with our highly developed conscience may grapple daily with our own mortality; struggling yet finding ways to keep living, making sense of, or adding to the world. However today, with predictions of imminent environmental changes leading to social and ecological collapse, we have to deal with the existentialist phenomena of the possible extinction of human- and animalkind. To then make art seems almost ridiculous. Yet it is more urgent than ever: whether the artwork is directly addressing political and humanitarian issues; or, as with Gupta’s new work, offers quiet moments of reflection on an absurd world; or through collaborative, community-driven projects. The need to reflect and create, invent and propose alternative possibilities is urgent. 

Lizzy Drury

 

 

This summer train tracks began to contort under 38°C temperatures in the UK’s hottest July. A comedic image of a train wobbling from side to side, enduring the route of a child’s poorly assembled toy track springs to mind. Commuters perspired beneath crisp white shirts as they heaved laptops and leftovers for lunch in rucksacks. At closed platforms, they were turned away from their daily routes and urged to find alternative ways to work. Climate change is ever-present yet elusive, punctuated by moments of intermittent absurdity that shake us from our in-built realities, even if for a brief moment. 

Not only rising global temperatures, but the spread of misinformation and political caricatures playing out the theatrics on an unreachable world stage, puts many across the planet at the edge of a catastrophic social and ecological precipice. The current “climate” reflects the Absurdist thought of the 1920’s Dadaists, whose humour and irony brought to light the horrors of war that were engulfing the planet, addressing them with ridicule and nonsense. Arising again in the aftermath of World War II, the Absurdist Theatre of the 1940’s took inspiration from Dadaism   and the Absurdist philosophy of Albert Camus, putting implausibility at the heart of theatre. Playwrights such as Beckett and Pinter responded to recession and degeneration of reason on the global stage by portraying human existence as chaotic and plot-less. 

 

 

It seems that today the Absurdist mode of critique is relevant once again, with all of us living within a new alternative, fictional framework that creatives can occupy and work with. Andy Holden’s film essay What a Time to be Alive illustrates well this bizarre nonsensical reality, borne of the dissolving of facts. Set in 2016, his film presents a cartoon-version of himself wandering through surreal natural and man-made photographic landscapes, observing Trump shaking hands with Kanye West, whilst mumbling to himself the “truth no longer bears any weight.” Here, illogical reality is superseded by the logical cartoon. 

 

 

It’s now late August and the studio is stifling. Three flights of stairs and my bag imprints a sweat-stained shape on my back. I decided to steal a few hours here between shifts at work but the creative outcome has been fruitless. Studio rituals and the meanderings and failures of art-making in the face of such environmental and social threats can feel somewhat pointless. I think of the many questions to ask and be answered. As artists, how do we navigate this era of turbulence and uncertainty? Do we weaponise with our practices, or build meaningful resistance in our numbers through collectivising? Do we retreat into our work, or detach from it? Do we reinterpret this era with nonsensical work, or scramble together a voice that reflects the mood of the planet? Do we check our mediums and processes, or find vastly different ways of working?

 

 

Camus proclaims we must imagine King Sisyphus as “happy” after pushing the boulder up the hill, despite it rolling back down again at the end of the day. For just a brief moment, he stands at the top, the day’s work complete. Like Sisyphus, despite the potential meaninglessness of creative ‘failures’, or feelings of hopelessness over the future of our sacred planet or our democracy, the only resistance we still have as artists is to keep interpreting, questioning and pushing the rock up the incline. We must keep working, in whatever capacity or direction our practices take for as long as we have the luxury of responding to the world through art. Surely to give in is to retreat into spectatorship. 

Between us, we are still searching for answers. We look to Lauren Bon and The Metabolic Studio’s text piece, ‘Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy’, 2017. That capacity is devastatingly – or conversely promisingly – huge.  

 

 

Neena Percy and Lizzy Drury are artist-curators who formed Hot Desque, a curatorial partnership presenting emerging and established artists within immersive, site-specific exhibitions. All artworks are presented together to transform a space into a theatrical mise-en-scéne. Highlighting the interdependence of artists, we encourage cross-disciplinary collaborations to positively widen art networks. Utilising temporary spaces, Hot Desque reflects the contemporary world of ‘work’ and the expected flexibility with which many artists, practitioners and creatives must work today.

 

 

Shivani Gupta will be exhibiting her video installation Girl in a House as part of ‘Goa Photo’ later this year. She is currently working and practicing from her studio in Goa, India.

 

 

Andy Holden presented Episode IV: What a Time to be Alive, HD video, 2017 in ‘Tailbone’ at the Artesian Well curated by Hot Desque.

05.09.19

Words by Lizzy Drury and Neena Percy

Related

blog_post-template-default single single-blog_post postid-8769 single-format-standard