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.

À partir de n°1 - Coll.
Dans la matrice : le design radical de Ken Isaacs - Susan Snodgrass
Comic Book (Untitled) - Stéphanie Leinhos
Keywording (Post) Contemporary Art - Greta Rusttt
Harry Thaler's Pressed Chair
Papier magazine n°06 - Coupe du monde
Polygone n°01 - Amour - Collectif
Les Climats II (Japon) - Lola Reboud, Mariko Takeuchi
UP8 — Pour une pédagogie de l'architecture
"Maria ! I've just drawn a girl named Maria..."
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Rasclose - Geoffroy Mathieu
Catalogue Art Guys - That's painting productions, Bernard Brunon
Critique d'art n°55
L'œuvre des matières - Ivry Serres
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
Le dos des choses - Guillaume Goutal
Schindler Manifesto
Image Canoë - Jérémie Gindre
Gnose & Gnose & Gnose - Aymeric Vergnon-d'Alençon
Changer l'art par ses marges ? - Charlotte Laubard
Shanghai Cosmetic - Leslie Moquin
Habitante 2 - Coll.
Collective Design : Alison & Peter Smithson
Le blanc nez - Fouss Daniel
Ar(t)chitectures situées - Étienne Delprat
We want to look up at the Sun, but could the Sun be looking down on us? - Rudy Guedj & Olivier Goethals
Flower finds - Orianne Jeanselme
ARTZINES #1, Paris issue
Critique & création - L.L. de Mars
the Ghost of Weaving - Coll.
Cyclone - Juliette Chalaye
Je ne peux pas ne pas - Geneviève Romang
Imagos - Noémie Lothe
Yerevan 1996/1997 - Ursula Schulz-Dornburg
Tomber dans l'escalier - Jasper Sebastian Stürup
Halogénure #04
Graphic Design Is (…) Not Innocent - Ingo Offermanns
Sur la page, abandonnés — vol.3
Cruiser l'utopie – L'après et ailleurs de l'advenir queer - José Esteban Muñoz
Optical Sound 2
Black Case Volume I and II: Return From Exile - Joseph Jarman
Eros Negro # 1 - Demoniak
Rupture (fragments) - Benjamin Monti, Jean-Charles Andrieu de Levis 











































