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.

Roven n°4
La France de tête #04
Le Choix du peuple - Nicolas Savary, Tilo Steireif
Assembly - Sam Porritt
Un cahier - Michel Quarez
Critique d'art n°56
Mökki n°2
Bacon le Cannibale - Perrine Le Querrec
Regards croisés — Gekreutze Blicke - Yeloyolo
Prose postérieure - Les commissaires anonymes
Philonimo - Le Corbeau d’Épictète - Alice Brière-Haquet, Csil
Catalogue Art Guys - That's painting productions, Bernard Brunon
Before Science - Gilles Pourtier, Anne-Claire Broc'h
Anthologie Douteuses (2010—2020) - Élodie Petit & Marguerin Le Louvier
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
Keywording (Post) Contemporary Art - Greta Rusttt
Critique & création - L.L. de Mars
16 x 421 - Lorraine Druon
Flower finds - Orianne Jeanselme
Poèmes - Yvonne Rainer
The life of Ruben - Bernardo Sousa Santos
Rupture (fragments) - Benjamin Monti, Jean-Charles Andrieu de Levis
Dédale - Laurent Chardon
Les glaciers - Lorraine Druon
Aurore Colbert - Marie Mons
Pureté et impureté de l’art. Michel Journiac et le sida Antoine Idier
Amos Gitai et l'enjeu des archives - Jean-Michel Frodon
Comment réparer : La maternité et ses fantômes - Iman Mersal
Rue Englelab, La révolution par les livres - Iran 1979 - 1983 - Hannah Darabi
Modern Instances, The Craft of Photography - Stephen Shore
Cf. - Pierre Olivier Arnaud
Buiding a wall - A book by Roméo Julien
Les Grands Ensembles - Léo Guy-Denarcy
Wayfaring - Patrick Messina, André S. Labarthe
À partir de n°1 - Coll.
ARTZINES #1, Paris issue
Après la révolution – Numéro 2
Rasclose - Geoffroy Mathieu 











































