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.

Les soleils qui tournent ont des oreilles - coll.
La Couleur du Geste - Héloïse Bariol
interférence - 3 - maycec
Piano - Joseph Charroy
Heads Together – Weed and the Underground Press Syndicate - David Jacob Kramer
ARTZINES #1, Paris issue
Les Climats II (Japon) - Lola Reboud, Mariko Takeuchi
Carnivore - Grow
Poster Tribune # 11
Cyclone - Juliette Chalaye
L’intérêt à agir. Quand l’art s’inquiète du droit des étrangers et du droit d’auteur - Coll.
Holyhood, vol. 1 — Guadalupe, California - Alessandro Mercuri
akaBB - tribute to Roni horn
La peinture c'est comme les pépites - Pierre Yves-Hélou + Tirage
Photographic Fields - Joël Van Audenhaege
Critique & création - L.L. de Mars
Les danseurs du Balajo - 2017-2018 - Carole Bellaïche
Les Mains sales - Collectif
Keywording (Post) Contemporary Art - Greta Rusttt
Après la révolution – Hors-série – JO Paris 2024. Carnets de luttes
Dédale - Laurent Chardon
Slanted 24 - Istanbul
Au chevet des milieux : L'émancipation par l'outil manuel - Yetecha Negga
Link Human / Robot - Collectif dir. Emmanuelle Grangier
Musée des Beaux-Arts - Pierre Martel
Prendre l’image, Le graphisme comme situation politique - Olivier Huz
Cuadernos - Henry Deletra
Regards croisés — Gekreutze Blicke - Yeloyolo
Dark optics - David Claerbout
Good Company - Paul Van der Eerden
Gros Gris n°4 - Duel
Pas vu Pas pris - Collectif, Olivier Deloignon, Guillaume Dégé
Pénurie - Zivo, Jérôme Meizoz
Philonimo - Le Papillon de Tchouang-Tseu - Alice Brière-Haquet, Raphaële Enjary
Le lacéré anonyme - Jacques Villeglé
Dans la Lune - Fanette Mellier
ICCMHW - Atelier Choque Le Goff
Before Science - Gilles Pourtier, Anne-Claire Broc'h
Notre condition. Essai sur le salaire au travail artistique – Aurélien Catin 











































