"The feeling is diffuse. One has the impression of entering a space in the middle of an exhibition setup. There are traces of glue on the walls, embroidered fabrics are hung haphazardly, thick sheets are stretched out on the floor. Indeed, one isn’t immediately able to locate the works of artist Myriam Mihindou. What imposes itself at first is a form of appeasement linked to the silence that the pieces summon, due to the fact that the spectator’s gaze must first search for them, inspecting the nooks and crannies of the single room that makes up the exhibition. In “Épiderme,” curated by Guillaume Désanges at La Verrière in Brussels, the concept of surface is at the heart of the show, both literarily and metaphorically: skin, the fabrics that envelop it, and the potential political and aesthetic implications of touch are its main motifs. But, paradoxically, the artist refuses to offer the eye any form of superficiality or obviousness. Throughout the exhibition, no work presented is obviously apprehended; everything escapes the gaze and is negotiated in shades of white, beige, and brown.'