People of the Mud is a powerful new series by Berlin-based US-Dominican artist Luis Alberto Rodriguez, made collaboratively amongst the communities of County Wexford in Ireland, where ancient tradition and modern life rub shoulders daily.

With a background in professional dance, Rodriguez’s work pays tribute to the metaphorical weight of centuries of physical labour behind cultivating the landscape and maintaining cultural heritage. Images of scarred limbs and hands, weathered faces and choreographed bodies appear as a cartography of this labour, reflecting how culture both shapes and is shaped by individuals. Elsewhere, we see the exaggerated glamour of modern female Irish dancers taken out of the glitzy ballrooms and into the fields, creating a rupture across time and space.
While in Wexford, Rodriguez was struck by the intense physicality of the sport of hurling. Considered to be the fastest sport on grass, while watching slow-motion footage of hurling Rodriguez saw that within seconds the players would go through pushing, shoving, grabbing, hugging, knocking each other down and then lifting one another up. Rodriguez worked with players to reform these gestures: creating sculptures out of bodies, directing and literally layering players upon one another.
At the outset of his project, Rodriguez wanted to create a large family photograph, an idea that was quickly surpassed by other strands of enquiry. However, with a step backwards we can see People of the Mud as just that – a collective community portrait of all the different elements that construct modern, rural Irish identities. Just like any family portrait, it is at times dysfunctional and contradictory; it gathers all the ruptures and continuities between the past and present in modern Ireland, while being held in a landscape and moment in time. This moment is both still – posed and paused – and in perpetual motion, looking towards the future.

Party Studies – Vol. 2 – Underground clubs, parallel structures and second cultures
Critique & création - L.L. de Mars
Deep state - Mathieu Desjardins
Der Erste Rotkehlchen - Le livre
Tomber dans l'escalier - Jasper Sebastian Stürup
Saint Julien l'hospitalier Tome 2 - Claire Pedot
Eros negro n°3 - Démoniak
La Typographie post-binaire au delà de l'écriture inclusive - Camille Circlude
Pureté et impureté de l’art. Michel Journiac et le sida Antoine Idier
Dear Paul - Paul Van der Eerden
Économies silencieuses et audaces approximatives - Guy Chevalier [& coll.]
SKKS - Gilles Pourtier
Le corps travesti - Michel Journiac
Keywording (Post) Contemporary Art - Greta Rusttt
Le dos des choses - Guillaume Goutal
Pectus Excavatum - Quentin Yvelin
16 x 421 - Lorraine Druon
Gros Gris n°4 - Duel
Matriochka - Fanette Mellier (3ème ed.)
Désolation - Verity Spott
9 octobre 1977 - Roberto Varlez
Lisa Zordan . one-shot the end
Le style anthropocène - Philippe Rahm
Avec ce qu'il resterait à dire - Anne Maurel
Farandole - Jérémie Fischer
Vacuité 9090 - Jérémy Piningre
Rois de la forêt - Alain Garlan
Le singe et le bijoux - Roxane Lumeret
Critique d'art n°56
Aurore Colbert - Marie Mons
La Couleur du Geste - Héloïse Bariol
Citrus maxima xparadisi - coll.
Trous gris - Michel Vachey
Délié - Baptiste Oberson
In The Navy - Julien Kedryna 











































