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.

MENU メニュー - Wataru Tominaga
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
Prendre l’image, Le graphisme comme situation politique - Olivier Huz
Hiver sur les continents cernés - F.J. OSSANG
Dessins pour Rugir - Virginie Rochetti
Poster Tribune # 11
A l'origine - Anne-Émilie-Philippe
Sans titre - Chris Kiss
Eros negro #2 - Demoniak
The Book Fight - Chihoi
Before Science - Gilles Pourtier, Anne-Claire Broc'h
Konrad Becker - Dictionnaire de réalité stratégique
In the presence of being absent... Arrgh. - Stéphanie Leinhos
Philonimo - Le Canard de Wittgenstein - Alice Brière-Haquet, Loïc Gaume
Strates & Archipels - Pierre Merle
Débris N°2 - Théo Garnier Greuez
Untitled (Comic Book) - Frédérique Rusch
À partir de n°1 - Coll.
Saint Julien l'hospitalier Tome 2 - Claire Pedot
America - Ayline Olukman, Hélène Gaudy
Piano - Joseph Charroy
Entretiens – Jérôme Dupeyrat
Rue Englelab, La révolution par les livres - Iran 1979 - 1983 - Hannah Darabi
Mökki n°4
Pour une esthétique de l'émancipation - Isabelle Alfonsi
akaBB - tribute to Roni horn
Mökki n°2
movement in squares - Stefanie Leinhos
Les voiles de Sainte-Marthe - Christian Rosset
Inframince et hyperlié - Philippe Lipcare
Acteurs d'un film gravé. Docteur A. Infirmier O. - Annabelle Dupret, Olivier Deprez et Adolpho Avril
Le dos des choses - Guillaume Goutal
JJ – Tartine-moi et autres textes - Jill Johnston
Saint Julien l'hospitalier Tome 1 - Claire Pedot
Dark optics - David Claerbout
Optical Sound 3
Imagos - Noémie Lothe
La traversée - Magali Brueder
Un peu comme voir dans la nuit - Leif Elggren + CD
Red Horse - Sasha Kurmaz
Aristide n°4
Dear Paul - Paul Van der Eerden
Dans la Lune - Fanette Mellier
Illusive prosody - Alex Beaurain
Critique d'art n°55
Good Company - Paul Van der Eerden 











































