About Habiter

« The pair’s uncanny synchronicity, in the simplest of actions like swiping their forearm across the table, were timed with the utmost precision, challenging the idea that perfection does not exist. »
Valeria Nunziato, The Dance Current, 2019

« From this sort of still-life that changes with extreme precision, an ashen, portentous beauty shines through. »
Wall Street International Magazine, 2019

“Almost exclusively a series of still shots, it’s a play of silence and of the greatest immobility possible for the performers (the choreographer dances in it too) that speaks of memories and of loss, of conveying sensitivity, and of its own individuality. It’s solid and coherent.”
— Catherine Lalonde, Le Devoir, 2017

 “Leafing through this album of postures, we see the mockery of codes and habits, as well as the poetry of objects taking shape.”
— Guylaine Massoutre, Spirale, 2017

“The performers are vibrant in their facial and physical expressions: they are neutral yet intense and certain performances are reminiscent of Johannes Vermeer’s work.”
— Jeanne Hourez,, 2017

“With impressive precision, the two women are fully invested in their actions and intentions, as well as in the spatial relationships they must recreate with every change in the light.”
— Chloé Ouellet-Payeur,, 2017

“Habiter evokes images of a Vermeer masterpiece.”
— Luc Archambault, Westmount Mag, 2017

About F O L D S

“Without need for preparation, the choreographer brings us right into the world of visual illusion and makes us lose our spatial awareness and accept the multifaceted existence of this slender dancer who is slowly evolving. […] The transitions from one imaginary world to another are flawless and constantly enrich the show throughout.”
 Mario Veillette, Chroniques du regard, 2016

“The videographic transformation of movements provides magnificent performances from the dancers with duplication. It’s a pretty “farandole” where the beauty of the body and the mechanics of movement fill the entire space.”
— Robert Boisclair, Les enfants du paradis, 2016

“The choreography is highly aesthetic and the addition of screens surpasses the technological or purely techno geek exploration. It is driven and adds to the global beauty and impact of F O L D S.”
— Émilie Rioux, Chérie J’arrive – Chyz 94.3, 2016

“F O L D S delves into dance as well as poetry and visual arts. It’s actually a kinetic poem where we play with perceptions, movements and time. […] Probably like everyone else, I was hypnotised by this visual poetry.”
— Mickaël Bergeron,, 2016

“There is no perceivable hierarchy between the choreography and video projection. Rather, it’s symbiosis that appears and we suspect that the dance will hold its own without the video apparatus, as Germain has already proven to us with Aube and Y demeurer. The video merely enriches her offering which turns out to be something between great beauty and poetry.”
— Sylvain Verstricht, Local Gestures, 2014

About Aube

“The piece is a little jewel that unveils a highly skilled young choreographer who possesses great finesse.”
— Catherine Lalonde, Le Devoir, 2012

“The movement is refined; to be examined in its every detail from a pointing finger, a dropped shoulder, a body that succumbs to the shadows, or rather takes the lead ahead of the other by assuming the space. Everything takes its time unfolding; time that is measured fully and accurately. It’s delicate, modest, well balanced. And when they reopened their eyes…both the stage and the spectators were lit up!”
— Brigitte Manolo, DFDanse, 2012

«A great lineup from Tangente, a great lineup of interpreters, it’s no wonder we all lined up and sold out these shows that will hopefully grace other stages soon. I’d see this double bill again and again.»
— Stéphanie Fromentin, Danscussions, 2012

“Katia-Marie Germain, a Danse Buissonnières success story is back with a 25-minute creation that stays true to the delicate and visually engaging artistic signature she has been developing.”
— Allison, Bloody Underrated, 2012

“Katia-Marie Germain and Geneviève Ferron: choreographers condensing space and moving towards new ways of thinking about the expression of the performing and visual arts. Remember their names.”
— Nayla Naoufal, Ma mère était hipster, 2012

“In this choreographer we find a very evocative gesture that hinges on the unwavering presence and concentration of her dancers. Very cinematic.”
— Olivier Koomsatira, Danse Nouvelles Montréal, 2012

“If Aube unfolds in the darkness, it’s still a revelation. Katia-Marie Germain gives us choreography that is virtually driven by the audible gears of a metronome to which the dancers move harmoniously.”
— Alain Fortaich,, 2012