Horseshoe crabs are marine creatures whose morphology \u2013 a body protected by an articulated exoskeleton and blue blood\ndue to the presence of copper \u2013 has been unchanged for hundreds of millions of years. Traditionally used for food, fishing bait\nor as fertilizer, but even more now in the pharmaceutical industry, horseshoe crabs are in sharp decline, while our own survival is\nweighed against theirs. Their blood cells allow us to detect the presence of bacteria on surgical equipment, in injectable liquids\nand various medications, which has us with our backs against the wall: risk being inoculated with a deadly substance or \u2013 while\nwaiting for a synthetic version to be developed \u2013 sacrifice these arthropods, knowing that many of them will die from being\nbled in the laboratory.<\/p>\n\n\n\n

Choosing \u201cLe sang des limules\u201d (The blood of horseshoe crabs) as the title of her exhibition is a way for Myriam Mihindou\nto invite us to think with her about the current state of the world, in its political, economic and ethical complexity, by resisting\nwhat crushes us, by affirming our empathy with the living, and of course, because this has always been the common thread of\nher artistic approach, by following her in her project of linking art and care.<\/p>\n\n\n\n

She still had to invent her tools and weapons \u2013 films, photographs, drawings, sculptures and installations \u2013 experiment\nover and over with constraint and liberation, overcome her fears, establish healing and self-healing rituals, explore letting\ngo and reactivating memories, restore the power of the feminine, inscribe the ritual in the material itself, or shake up the\nlanguage to oppose disaster with something good. Inseparable from this multifaceted and hyper-coherent production, her\ntransperformances are strong moments of experience and sharing, with no dividing line between the spiritual and the political,\nthe intimate and the common.<\/p>\n\n\n\n

The series Le Patron (2024) is made up of sheets of tracing paper and tissue paper assembled with needles, combining\ndrawings, collages and words embroidered with copper thread. In sewing, \u201cpatron\u201d translates as \u201cpattern\u201d; a guide, a framework\nand a method. In art, we could see it, with Gilles Deleuze, as a diagram, a matrix initiating a creative process. Here, as is often\nthe case in Myriam Mihindou\u2019s work, the names of the pieces \u2013 L\u2019int\u00e9rieur de ses mains roses (The inside of her pink hands) \u2013\nimage and text in the same poetic enigma.<\/p>\n\n\n\n

One of the works bears the words ARIUM NO AB OVO, which refers to the indefinite place of impossible origins, but its\ntitle is Nota Bene, like a memento without an object and without a particular address: it is up to each person to know what is\nimportant to remember or what to focus on. Others \u2013 Le partage des eaux; Flumen, Fluminis (river, watercourse) Commigrare,\no, aui, atum (to pass from one place to another, to inhabit); Oceanic carbon \u2013 evoke improbable nocturnal landscapes, perhaps\nbefore language came to qualify and separate the blue waters and the earth, the blood of horseshoe crabs and the primordial\nocean.<\/p>\n\n\n\n

Evelyne Toussaint<\/p>\n\n\n\n

Contemporary art historian
Emeritus Professor of the University of Toulouse Jean Jaur\u00e8s<\/p>\n\n\n\n

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