Six women move in alternating rhythms. On a scale from very slow steps to fast running in ever widening circles. They develop emotionally intense physical worlds that open up a broad spectrum of associations. The focus is on a dance in which intimate and social gestures come together to create moments of utopian togetherness; a kind of uprising initiated by the women. This moving physical landscape raises the following questions: What happens when people come together and a community develops as a result? How can this new order be formulated using dance, an order in which there could be more equality and solidarity? Could we imagine women in particular taking a leading role in this upheaval? On the basis of such considerations, Samuel Mathieu created a female refrain that nourishes and questions, claims and causes a contemporary world in full transformation.
Choreography, composition and set design: Samuel Mathieu Dramaturgy: Andrei Mirchev Musical assistance: Pavel Kuznetsov Dance: Isabel Druenne, Valeria Gambino, Emily Grieshaber, Rayanne Guimarães, Ayda Frances Guneri, Elena Zanato Duration: 40 minutes
Samuel Mathieu studied ballet and contemporary dance at the École Nationale de Musique et Danse in La Rochelle, where he was taught by Karin Waehner, among others. As a dancer, Samuel Mathieu worked with Régine Chopinot, Jean-Claude Gallotta, Robert Seyfried and Tomeo Vergés. In 2001, he founded his own company and began working as a choreographer. In 2004 he created Est-ce-O-Elle-O-solo also Us band and Go On!. In 2008 he created North-Reich-North for the Vorpommern Ballet. In the same year Yan, a French-Chinese project. In 2015 and 2017, he and his Cie Samuel Mathieu were guests at the festival TANZ | MODERNE | TANZ mit Us band and Assassins, in which he dealt with political issues such as questions of power. The choreography Mili[tanz!] in 2020 together with the Ballett Chemnitz for the series Showcase.
Tim Behren is a choreographer, acrobat and artistic director ofOverhead Project. No stranger to Chemnitz audiences after his successful performances at the TANZ | MODERNE | TANZ 2015 festival at Corps Étrangers from Mouvoir and 2016 [How To Be Almost There. The workshop is aimed at all dance enthusiasts who want to immerse themselves in the world of acrobatics, creativity and dance.
Tim Behrens was trained at the École Supérieure des Arts du Cirque (ESAC) in Brussels to become an acrobat and has been working in the dance scene ever since. He also completed the Study program Dramaturgy Circassiene onCentre National des Arts du Cirque (CNAC) in Chalons en Champagne.
Tim Behren founded the company Overhead Project with his long-time working partner Florian Patschovsky at the end of their joint training as an acrobatic duo. Overhead Project's subsequent choreographic works have won over ten international awards. Since the company was founded in 2008, eleven productions have been created in the independent scene as well as four guest choreographies at the municipal theaters in Bern, Heidelberg, Jena and Bielefeld. Overhead Project has received top-level funding from the state of NRW since 2018 and TANZPAKT Stadt-Land-Bund excellence funding since 2019. Tim Behren co-founded the Bundesverband Zeitgenössischer Zirkus e.V. in 2011 and is active in cultural policy on the board of Kulturnetz Köln for the Contemporary Circus section. He is co-founder and part of the management team of Ehrenfeldstudios, an interdisciplinary production and presentation venue for dance, performance, contemporary circus and media arts. He is a member of several jury commissions, including the Codarts Circus Arts University Rotterdam, the Societé Suisse des Auteurs and the Zirkus-On funding program. Tim Behren is a guest lecturer and student coach for the master's program in choreography at Fontys University Tilburg.
No previous knowledge required. Limited number of participants for all workshops | 14 years and older
The workshop is based on the perception of the body, its motor skills, the mobility of the joints, the shifting of weight and its distribution in space. This leads to a method that allows for dance movements and physical discoveries. Small choreographies are created in which understanding and feeling for movement and body develop between improvisation and composition.
Emilijus Miliauskas, Born in Lithuania, he began dancing at the age of eleven at the National M. K. Ciurlionis School of Art in Lithuania and performed in ballets at the Lithuanian National Opera. After his training at the Heinz Bosl Foundation in Munich, he danced in ballets under the direction of Ivan Liška at the Munich State Opera. He has performed as a soloist at the Leipzig Opera and with the Linz Ballet Ensemble. He has been a member of the Chemnitz Ballet since the 2011/2012 season.
No previous knowledge required. Limited number of participants for all workshops | 14 years and older
All about performance HOM(m)ESwill be Gianluca Girolami with the choreographic approaches and physical work of the Company Act2 engage. This is a unique opportunity for young people and adults aged 14 and over to approach dance in a playful way, to try out their own bodies, but also a great opportunity to explore the idea of Hom(m)es get to know us better.
Gianluca Girolami began dancing in Italy while playing soccer, which gave him a taste of effort, commitment to movement and team spirit. At the same time, he worked in a factory where his desire to become a professional dancer grew stronger day by day. In 1998, he decided to give it all up and went to France. He trained with Anne-Marie Porras (Epsedanse, where he obtained his state diploma) and became her assistant. He works as a dancer and performer for various companies: Anne-Marie Porras, Salia Sanou, Yann Lheureux as well as the Cie. Gambit and Tango Sumo. He works as a teacher in the training centers Epsedanse (Montpellier), Termitière (Burkina Faso) as well as in the context of school missions and international internships (Bolzano Danza Italy, Heraklion Greece). He joined the Compagnie Act2 - Catherine Dreyfus in 2017
No previous knowledge required. Limited number of participants for all workshops | 14 years and older
TEMPORARILY DETAINED BODIES was created as a consistent distillation of the work Realignments from Blanca Arrieta, but extended Vita Osojnik The performance was given a more profound content by exploring Egon Schiele's expressionist works in greater depth. Blanca Arrieta began her piece Realignments with the idea of being inspired by the work of Egon Schiele. By the end of the process, the piece had taken a very minimalist direction. Vita Osojnik took over the choreographic work at this point, having previously accompanied the process as a choreographic assistant. She carefully examined Egon Schiele's artistic views and added her own fresh ideas to her conception.
The new title is seen as a play on words for the metamorphosis into the new work. The number of co-authors/dancers is reduced from six to four. The musical landscape is created especially for the trapped bodies. The costumes allow Schiele's characters to re-emerge.
And so the performance Temporarily Detained Bodies into a deep melancholy and provocation. Both reflect Schiele's nature. The play with proximity, distance, interplay and tentative touches make it clear how much the Covid-19 pandemic has us all in its grip and influences our work.
Concept, choreography and costumes: Vita Osojnik Co-Creation: Alja Branc, Lara Matea Ivančič, Ema Križič, Julija Pečnikar Original music: Matevž Kolenc Lighting design: Aljaž Zaletel Creative Producer: Katja Somrak Dance: Alja Branc, Lara Matea Ivančič, Ema Križič, Julija Pečnikar Produced by: Plesni Teater Ljubljana 2021 Duration: 60 minutes
Vita Osojnik works as a freelance choreographer, dancer, dance teacher and street artist. She received her dance training at the Music and Ballet School in Ljubljana. She completed her studies in contemporary dance and choreography at the Experimental Academy in Salzburg. She also studied to become a primary school teacher. She supervises educational work and is a mentor within the Alma Mater Europaea Academy of Dance, at the dance company Qulenium, in Kranj and at the street theater Sugla. She works as a teacher and mentor in Ljubljana, Maribor and Florence. In October 2015, she was invited to the famous Tisch School of Arts (Broadway, New York) as a choreographer and teacher. In September 2019, she participated as a choreographer in the international joint project of Plesni Teater Ljubljana - Dance Theater and Datzaz from Spain. She created for the dance company Dantzaz Hombre Masa, which can be seen at this year's Ukrep festival.
Since the beginning of the 20th century, masculinity has known a quiet revolution that has caused men to falter in their fundamental achievements. Until recently, masculinity seemed to be taken for granted: shining, natural and the antithesis of femininity. In her choreography HOM(m)ES sets itself Catherine Dreyfuswith the different forms of masculinity. HOM(m)ES is the beginning of a new dance cycle by Catherine Dreyfus on the subject of gender. It is fun to watch how she deals with biological gender choreographically and performatively, regardless of sexual identity. She explores the concept of masculinity and the position of men in the 21st century, in a seemingly modern and enlightened society. Obviously, the male world is beginning to reflect on its own existence and to reanalyze its own masculinity and the associated questions of power and dominance. A multiple and complex image of men in the post-heroic age is emerging. And what if men had become more versatile - as lovers, friends, fathers, transgender, authoritarian and vulnerable beings, heroes, alpha animals, conquerors, daredevils and at the same time contemplative, contemplative and sensitive? All this stands in dialogic contrast to excerpts from the documentary film Coby, which shows the hurdles in the daily life of a transgender woman. In HOM(m)ES a choreographer and four dancers question the place not only of the man himself, but of man in general, in an ever-changing world.
Catherine Dreyfus initially pursued a career as a dancer for various choreographers, including Odil Duboc, Simone Sandroni, Nathalie Pernette, Alain Imbert, Micha Purucker and Sosana Marcelino, before she was awarded the Company ACT2 founded. Musicality, poetry and fluidity are the ingredients of her uniqueness, tinged with a slightly ironic surrealism. The works she creates are delicate, exuberant and invigorating. In addition, Catherine Dreyfus loves to bring the body into contact with physical objects and materials. The design of the stage space and the environment play a fundamental role and are, in a way, seen as interpreters and important partners. The intention of ACT2 is to bring dance to all people, detached from its traditional framework.
Production: Association Act2. Co-production: Espace Germinal à Fosses, Les Tanzmatten à Sélestat, Equilibre Nuithonie à Fribourg (Suisse). Support: DRAC Grand Est, Région Grand Est, Conseil Départemental du Haut-Rhin, Conseil Départemental du Val d'Oise, Ville de Mulhouse, Ville de Paris (au titre de l'aide à la diffusion), La Briqueterie - CDCN du Val-de-Marne de Vitry-sur-Seine, L'Etoile du Nord - Scène conventionnée danse de Paris, Le CREA - Scène conventionnée de Kingersheim, le CCN de Créteil et du Val-de-Marne / Compagnie Käfig, ADAMI, SPEDIDAM and Fonds SACD Musique de Scène.With the artistic participation of the Jeune Théâtre National and the support of the patronage of the Caisse des dépôts.
Wed, 16.06.21| Thu, 17.06.21 | Fri, 18.06.21 | each
15.00 + 16.00 hrs | Fritz Heckert area
Bus 52: Arno-Schreiter-Straße (bus stop)
15.00 + 16.00 hrs | Bernsdorf
Streetcar 3: TU Campus (stop)
15.30 + 16.30 | Brühl - ZUHAUSE
Streetcar 3/4: Bus station (stop)
15.30 + 16.30 hrs | Sonnenberg - Lessingplatz
Bus 21: Lessingstr. (bus stop)
Chemnitz was shaped by the industrial revolution and today calls itself a city of modernity. 80 % of the city center were destroyed two months before the end of the war in 1945; since then, the city center has not regained its vibrant life. In 1953, Chemnitz was renamed Karl-Marx-Stadt and after the political changes, it was renamed back to Chemnitz. The GDR's housing construction program did not concentrate on the city centre, but rather built new large residential areas. Structural change and the further development of the city center came with reunification. Many square meters of retail space were created, but they were not able to fill the city center with new life. Life takes place in the neighborhood: in the residential areas, in the anonymous prefabricated buildings, where individual narratives emerge and different social classes come together. The coronavirus pandemic has brought many cultural and social activities to a standstill. The project MADE IN CHEMNITZ - Move YOUR quarters! brings dance and performance to the street.
For the MADE IN CHEMNITZ 20 project∙21, ballet director Sabrina Sadowska has invited the choreographers Anne Le Batard (France), Daniel Morales Pérez (Spain), Willi Dorner (Austria) and David Blazquez (Spain) to Chemnitz to explore contact with the residents of four neighborhoods together with the dancers of Ballett Chemnitz and guests. Together, they will create interventions and performances in public spaces as part of the TANZ | MODERNE | TANZ 2021 festival.
Kulturquartier - Brühl (always 3.30 + 4.30 pm)
Choreography, staging and set design: David Blazquez (Spain) Dance: Soo-Mi Oh, Nicola Brockmann, Rayanne Guimarães Ribeiro, Alejandro Guindo Martín, Milan Maláč, Sascha Paar
Markersdorfer Oase cultural quarter - Fritz Heckert area(always 15.00 + 16.00)
Choreography, staging and set design: Anne Le Batard (France) Dance: Sandra Ehrensperger, Savanna Haberland, Ayda Frances Guneri, Elena Zanato, Benjamin Kirkman, Ivan Cheranev, Dan Ozeri
Choreography, staging and set design:Daniel Morales Pérez Dance: Nela Mrázová, Valeria Gambino, Raul Arcangelo, Roberto Calabrese, Leonardo Fonseca
„Supported by the NATIONAL PERFORMANCE NETWORK - STEPPING OUT, funded by the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR. Dance Aid Program.“
Project partners: TANZ | MODERNE | TANZ e.V. - Förderverein für zeitgenössischen Tanz Chemnitz, TANZbüro Chemnitz, Festival TANZ | MODERNE | TANZ and the Städtische Theater Chemnitz
David Blazquez comes from Don Benito (Spain) and completed his dance training at the state ballet schools in Murcia and Madrid. He received his first engagement at the Ballet Clásico de Madrid in 1995 and moved to the Gavina Ballet in Barcelona in 1997. From 1998 to 2001, he danced at the Nordharzer Städtebundtheater in Halberstadt before joining the Ballett Vorpommern. Since the 2005/2006 season, he has been a member of the ballet ensemble of the Hanover State Opera and has danced in choreographies by Mats Ek, Marko Goecke, Nacho Duato, Hans van Manen, Johan Inger, Nils Christie, Mauro Bigonzetti and William Forsythe, among others. Since 2008, she has created her first choreographies for the „New Steps“ series in Hanover, for the „San Francisco Dance Film Festival“, for the Tanztage Hameln, for the Ballett Vorpommern and, in 2018, for the Ballett Chemnitz.
Willi Dorner, born in Baden near Vienna, received a versatile education as a dancer and dance teacher in Austria. After engagements in Austria, Paris and New York, he founded his own company, the Cie. Willi Dorner, in 1999. In addition to his internationally shown dance performances, Willi Dorner is interested in creating events that give the audience the opportunity for new experiences, insights and a differentiated perception of everyday life. His interdisciplinary works are created in collaboration with artists and scientists from various fields. Cie. Willi Dorner's projects have been presented at the Wiener Festwochen, Wien Modern, Theater der Welt Essen, Crossing the Lines New York and many more.
Anne Le Batard After her career as a dancer in Brussels and Marseille, she founded the Compagnie Ex Nihilo. She is particularly concerned with the relationship between dancers and dance to the space as well as to the audience. By exploring public space, she has developed her very own signature style. Jean-Antoine Bigot worked as a dancer in France and Belgium until he joined the Compagnie Ex Nihilo in 1997. Since then, he has shared the artistic direction with Anne Le Batard. Together they have already created more than 15 projects for Ex Nihilo. The group's aim is to combine publicity and art on the one hand and to incorporate new elements of art into dance on the other. The dance group is particularly dedicated to long-term projects, which it shares with the public through workshops, courses and encounters. Since 2016, Ex Nihilo has been an important partner of European creative projects for contemporary dance at special performance venues.
Daniel Morales Pérez studied dance and choreography at the Institut del Teatre Dansa in Barcelona. This was followed by various guest engagements in Spain and permanent engagements with the ballet company at Theater Vorpommern, Tanztheaterensemble des Tiroler Landestheaters Innsbruck and Landestheater Linz. He has been working as a freelance choreographer and trained dance teacher since 2015. So far, he has created choreographies for the Ballett Vorpommern, the Tiroler Tanztheater and the Ballett Linz, among others. He has choreographed the dance evenings Blood wedding, Carmen, Nutcracker, Cinderella at the Theater an der Rott. With his self-founded association „Tanz bei mir“, he is also constantly developing new productions, such as. With me there are three of us, Not quite my darling, Without key. In the 2018/2019 season, he created his first directorial works such as West Side Story for the Theater Bad Hall. In the same year, he was also named best choreographer for The round dance at the Theater an der Rott.
The soloDECAY from Astrid Boons was created in 2018 at the Dans I Nord residence in the province of Norrbotten in northern Sweden. In a world obsessed with the idea of eternal youth, Astrid Boons places decay and age at the center of Decay. The inner consciousness is locked in, trying to reach the unresponsive physical body and struggling not to give up in the face of the body's limitations. Decay represents a process in which superficial perfection becomes an illusion to stop time.
In Astrid Boons' work, the body is seen as a space of discovery, a territory with fragile boundaries that expand into other physical spaces and realities. Through long improvisations that require endurance, her creative processes attempt to free the performers' bodies from their meaning and to acquire knowledge so that they can later re-enter the world from a new sensory space. Embodiment, memory, identity and coexistence are recurring themes in her work, poetic and expressive. In response to contemporary states of crisis, Astrid Boon's work strives to communicate deeply embodied sensations as reminders of our humanity and to confront reality in an active and awake state.
Choreography and concept: Astrid Boons Music: Miguelángel Clerc Parada Lighting design: Thomas Linden Dance: Spencer Dickhaus Duration: 60 minutes Production: Dans I Nord and Korzo
Astrid Boons was born in Antwerp / Belgium in 1988. After her dance training at the Royal Ballet School in Antwerp, she studied at Codarts in Rotterdam. She has worked as a dancer with the Dansgroep Amsterdam, the Nederlands Dans Theater and the GöteborgsOperans Danskompani with. In 2017 and 2018 she was a guest at the Tanztheater Wuppertal Pina Bausch. In her career as a dancer, she has worked with many famous choreographers such as Saburo Teshigawara, Jiří Kylián, Paul Lightfoot, Sol Léon, Ohad Naharin, Hans Van Manen, Johan Inger, Ina Christel Johannessen, Michael Keeghan-Dolan, Iván Pérez, Marina Mascarell, Richard Siegal, Marie Chouinard, Alexander Ekman, Itzik Galili and Regina Van Berkel. Astrid Boon's choreographic career began in 2014 with the piece Alina, which reached the final of the international choreography competition in Hanover. She has been the resident choreographer at the Korzo Theater in The Hague since 2017. In the same year, she received the BNG Bank Dansprijs and the Piket Kunstprijs for young talent in the Netherlands. Her first full-length production Fields premiered at the Korzo Theater in The Hague in February 2019. In addition to her dance and choreographic career, Astrid Boons has a bachelor's degree in art history and philosophy.
Overhead Project has stood for pieces on the border between contemporary circus and dance for over ten years. Two languages that allow different perspectives on the bodies of their performers and constantly invite a new approach to the stage space. The trilogy Geometry and politics experiments - on the basis of archetypal spatial arrangements in parliaments - intensively with the theater as a space of experience and deals with architectural spatial settings in three plays. This is also the case in the third and final production in this series: What is left takes the frontal classroom arrangement as its starting point and looks at spatial structures that shape human communication culture. We are familiar with it from the waiting situation at counters, the hierarchy in the courtroom, at school and in church, from the attention in the theater auditorium and from advertising screens in subway stations, which demand and structure the attention of the bodies in the room. What is left is dedicated to these subtle and not always perceptible architectural structures that create a field of tension between space and body, between people and the power of communication.
Artistic direction, staging:Tim Behren Composition: Simon Bauer Light, visual dramaturgy: Charlotte Ducousso Lighting advice: Felix Bonowski Costume design: Sample-cm - Margot Charbonnier Stage design: nnb. Philosophical accompaniment: Eric Eggert Dramaturgical accompaniment: Mirjam Hildbrand Interdisciplinary research: Anna Menzel, Mirjam Hildbrand, Eric Eggert, Charlotte Ducousso, Tim Behren Production management: Lena Peters Management, PR: Mechtild Tellmann Performance and creation: Mijin Kim, Leon Börgens, Maria Madeira, Maiol Pruna, Franceso Germini
Tim Behren founded together with Florian Patschovsky In 2008, he founded the Overhead Project label, which he now runs as artistic director. After training together as partner acrobats at the Contemporary Circus School École Supérieure des Arts du Cirquein Brussels, they both joined the Freiburg-based company collective HeadFeedHands - Kompanie für Neuen Zirkus, Tanz und Theater. Here they created [How To Be Almost There, which won international awards and wowed the Chemnitz audience at the TANZ | MODERNE | TANZ festival in 2016. The two have been running the Overhead Project label since 2012 and have created award-winning productions such as Eh La, The boy who cries wolf, Carnical of the body, Surround. Since the birth of his son, Florian Patschovsky retired from the artistic direction of the label at the end of 2017, but remains associated with the company as a performer.
Supported by: Ministry of Culture and Science of the State of NRW, City of Cologne, Landesverband Freie Tanz- und Theaterschaffende Baden-Württemberg e.V. with funds from the Ministry of Science, Research and the Arts of the State of Baden-Württemberg, Kunststiftung NRW, RheinEnergieStiftung Kultur, supported by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.
Co-produced by: A production by Overhead Project in co-production with LOFFT - DAS THEATER. Supported by the City of Leipzig, Department of Culture. CircusDanceFestival Cologne. The residency program „And if we try (it) together ...?“ - a project by the Kainkollektiv and tak Berlin (funded by the Kunststiftung NRW).
„Supported by the NATIONAL PERFORMANCE NETZ Guest Performance Fund for Dance, funded by the Federal Government Commissioner for Culture and the Media and the Ministries of Culture and the Arts of the federal states.“
An unequal trio of performers confront each other inMy Body is Your Body The spectators with their own spectatorship, questions our traditional gazes and relegates them to the ranks of the bi-frontal gaze arena: directly into the opposing benches, similar to that of the British Parliament. Object to be treated: the body including the ego in it.
The choreographer Tim Behren stages a trio of performers with Cologne-based dancer Mijin Kim and the Brussels-based acrobatic duo Leonardo García and Leon Börgens for this exhibited in-between space. A mirror reflects what is thrown into it with geometric precision. In the mirrored gaze of our counterpart, however, some of the realities we see appear to be different. The supposedly objective suddenly becomes dislocated in the eye of the beholder and opens up subtle interstices. Others see something different.
Staging and conception:Tim Behren Sound composition, musical dramaturgy: Simon Bauer Lighting and stage design, visual dramaturgy: Charlotte Ducousso Stage design: Max Pothmann Dramaturgical support, research: Eric Eggert, Mirjam Hildbrand Outside Eye, Training Patricia Carolin Mai, Susanne Schneider Technical support: Garlef Keßler Costume design: Monika Odenthal Production management: Jari Ortwig PR: Management mechtild tellmann cultural management Performance and creation: Leon Börgens, Leonardo García, Mijin Kim
Sponsored by City of Cologne, Ministry of Culture and Science of the State of NRW, Kunststiftung NRW, RheinEnergieStiftung Kultur, Fonds Darstellende Künste
Premiere cooperation studiobuehnekoeln
In cooperation / with friendly support Hessisches Staatsballett / Staatstheater Darmstadt - Hessisches Staatstheater Wiesbaden. Ehrenfeldstudios e.V., Maschinenhaus Essen, C.IN.E. Sineu / Mallorca, Zirkus Paletti Mannheim
Tim Behren founded together with Florian Patschovsky In 2008, he founded the Overhead Project label, which he now runs as artistic director. After training together as partner acrobats at the Contemporary Circus School École Supérieure des Arts du Cirquein Brussels, they both joined the Freiburg-based company collective HeadFeedHands - Kompanie für Neuen Zirkus, Tanz und Theater. Here they created [How To Be Almost There, which won international awards and wowed the Chemnitz audience at the TANZ | MODERNE | TANZ festival in 2016. The two have been running the Overhead Project label since 2012 and have created award-winning productions such as Eh La, The boy who cries wolf, Carnical of the body, Surround. Since the birth of his son, Florian Patschovsky retired from the artistic direction of the label at the end of 2017, but remains associated with the company as a performer.
„Supported by the NATIONAL PERFORMANCE NETZ Guest Performance Fund for Dance, funded by the Federal Government Commissioner for Culture and the Media and the Ministries of Culture and the Arts of the federal states.“
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