In the temple space, on-stage, a ghostlike image of Pauline Curnier Jardin’s grandmother enters a scenography made entirely from sequins. Using her fingertips, the artist has drawn motives in the sequinned curtains; a simple, manual gesture, using a material that is both malleable and theatrical at once, and that she therefore felt attracted to. Solo pour Geneviève (première version) creates a particular setting that is reminiscent of more small-scale, traditional theatrical forms, such as cabaret, magic lantern and puppet theater, which engendered a more intimate relationship to the audience. Curnier Jardin created this little theatre specially for her grandmother whom the artist asked which roles she would want to perform as an amateur performer if only her body would still allow her to. But her old, worn-out body is unable to reiterate or demonstrate the described movements and gestures, although the sequinned stage gives her a glamorous burst of radiance.
(Exhibition text from "Voici des Fleurs", La Loge, Brussels, 2018)