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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].

(ARTISTS)

Shadi Al-Atallah, Lydia Blakeley, Joe Cheetham, Richie Culver, Dominic Dispirito, Hetty Douglas, Crystal Fischetti, Jake Grewal, Thomas Langley, Tanya Ling, and Michaela Yearwood-Dan.

 

 

(OPENING NIGHT)

Friday 4 October 2019, 6pm — 9pm
Curated by Martin Mayorga and Vanessa Murrell
(Images)

(OPENING TIMES)
Open from 4 – 25 October 2019
Thursday – Sunday
Open 11am — 18pm

(ADDRESS)
Platform Southwark
1 Joan Street, SE1,
London

Historically, a group show of paintings typically ranges variously-sized canvasses around the walls; is likely to feature a predominance of white men, quite probably middle class; and may well equate a gestural practice with heterosexual machismo. And restricting the cast to English artists has tended to enhance the uniformity.

 

 

Those terms are reversed here. The team of eleven artists serially depart from that model by gender, class, colour, country of origin, sexual orientation and even stage of transition: Saudi-born Shadi Al-Atallah has lived in the UK for six years but is not yet ‘fully English’. The works shown, on the other hand, are orthodox enough in their format but unorthodox in their uniformity: all are some 250 x 180cm in a portrait format which, sized to the body’s reach, tends to suggest self-revelation. They are shown uniformly, too – but again unusually: all are suspended clear of the walls, turning the gallery into an architecture of paintings which the viewer is invited to wander around and between. That brings the back of the works into meaningful play, whether or not the artists choose to use it as more than a plain surface. Evidently this is not a show to approach with assumptions.

‘The Full English’ itself is a jocular reference to a cooked breakfast, albeit that might – at least in these last remaining pre-Brexit days – include Danish rashers of bacon and Irish beef in the sausages. All the works were made for the show, and so respond to what the artists understand the national culture to be. Consistent with the very full range of English on show, their approaches vary considerably. But if there is a guiding principle here, it seems to be that the personal and the public are intimately connected. That fits the EU debate well, for where the theories of economics and governance can seem somewhat abstract, the passion roused by ‘leave’ or ‘remain’ is down to the direct connection to what people expect from their own lives. If the show has a presiding spirit it might be Martin Parr, for his way of revelling in the eccentricities of our class system even as he reveals its archaism and exposes the effects of inequality. The chav and the posh are treated the same, much as in the paintings of Lydia Blakely and Dominic Dispirito. But the tolerance implicit in that view is threatened by small-mindedness: leaving Europe needn’t be incipiently racist, protectionist, anti-liberal and backward-looking, but it has certainly seemed hospitable to those attitudes. Jake Grewal, Shadi Al-Atallah, Crystal Fischetti, and also the French tribute behind Tanya Ling’s abstraction, can be read as sharing that concern. Is it, then, a dark outlook? You can certainly take Thomas Langley, Richie Culver, Joe Cheetham and Hetty Douglas in that way, but there’s an upbeat defiance, too, in the sheer vivacity of their expression. Perhaps Michaela Yearwood-Dan, though speaking personally of her experience as a Briton of Caribbean descent, has coined the show’s slogan: knowing that there’s nothing great about Britain doesn’t stop us – the full English – from loving it. -Paul Carey-Kent

(PERFORMANCE MARATHON)
Saturday 19 October 2019, 10am — 9pm
Curated by Martin Mayorga and Vanessa Murrell
(Images)

(ARTISTS)
Louise Ashcroft, Takeru Brady, Beth Kettel, Richie Moment, Jade Montserrat, Kerry O’Connor, Irvin Pascal, Tom Sewell, Stasis, and Rosa-Johan Uddoh.

(SCHEDULE)
10:00 — Doors Open
11:00-11:30 —
Takeru Brady
12:00-12:30 — Kerry O’Connor
13:00-13:30 — Tom Sewell
14:00-14:30 — Beth Kettel
15:00-15:30 — Jade Montserrat
(SCHEDULE)
16:00-16:30 — Louise Ashcroft
17:00-17:30 — Rosa-Johan Uddoh
18:00-18:30 — Richie Moment
19:00-19:30 — Stasis
20:00-20:30 — Irvin Pascal
21:00 — Doors Close

Against an increasingly distorted and disturbing political rhetoric of Britishness – itself born out of Victorian and world war propaganda – Full English is a project that aims to re-envisage a more broad and true definition of what Englishness is. The British artists in this exhibition demonstrate identity as something that is a far more varied, with a more true representation of race, gender, age and class. The ‘Full English’ Performance Marathon takes these concerns to an exhibition space.

 

During the one-day marathon on October 19, curated by Martin Mayorga and Vanessa Murrell of DATEAGLE ART, 10 artists will be showing individual performances at 30-minute intervals. Performance as a medium has established itself as one of the most direct ways to touch on the political, emotional and physical nature of identity. The variety of work being performed demonstrates the breadth of position in contemporary English art and society. The results are pieces that explore the gamut of concerns in performance as a genre – the body, humour, costume, emotion, language, gesture, sound, nature, consumerism, pop and fame.

 

A number of the artists create work on the boundaries of film, sculpture and performance. Beth Kettel’s vibrant and colourful work reflects an interest in the shifting meaning of language. Richie Moment’s humorous film piece unpicks ideas of fame, identity and the often-dubious constructs of the art world. A number of artists in the marathon have a more prop or object-based practise. Tom Sewell’s practise emerges from sculptural installations, which unpick the human relationship to nature and culture, and how they can co-exist. Louise Ashcroft re-contextualises and spontaneously reacts to found materials in environments she creates and performs within – in this case inspired by breakfast cereals.

Other artists are exploring language in a more direct way. Kerry O’Connor pieces incorporating sound and storytelling, examines the psychological power of language and metaphor and its effect on our physiology. Alongside an interest in language, Jade Montserrat’s work is also a critique on consumption and the construction of history. From his Persona Non Data Series, Takeru Brady will explore agency and choice by performing After Burden: Happy Slap, Lick (sic) or DepoSit, 2019.

 

Identity is one of the clearest ways artists in the marathon are commenting on the concept of Englishness. Irvin Pascal makes work about his personal history and Afrobbean heritage, as much as comments on fashion, art and consumption. Stasis’s theatrical dance performances explore the experience of femininity. Rosa-Johan Uddoh’s narrative work in contrast looks at the largely negative effects of British pop culture and celebrity on the self.

 

The living ephemeral nature of performance is a vital and interesting reflection to the shifts and speed of modern British existence. The exhibition of painted works the performances are alongside also have a performative aspect. Hanging from the ceiling, and visible from both sides, the works question how art objects inhabit space, move and exist alongside the human body. They transform viewers into performers navigating space. -Francesca Gavin

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