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.

Paris la Consciencieuse : Paris la Guideuse du monde - Frédéric Bruly Bouabré
Prélude - Julien Gobled
twen [1959–1971]
It was a good day - Jeremy Le Corvaisier
Atopoz - Collectif
Prendre l’image, Le graphisme comme situation politique - Olivier Huz
Planète B - Gwenola Wagon
Critique d'art n°55
Les danseurs du Balajo - 2017-2018 - Carole Bellaïche
Saint Julien l'hospitalier Tome 3 - Claire Pedot
Alma Mater n°1
Illusive prosody - Alex Beaurain
本の本の本 - antoine lefebvre editions,
Ventoline 5 - Coll.
Cheat Sheets - Tiger Tateishi
Lili, la rozell et le marimba / revue n°2
Marc's Souvenirs - Marc Hennes
The Letter A looks like The Eiffel Tower - Paul Andali
Sillo n°3 - Le Fauve
Après la révolution – numéro 1
La vallée - la brèche - Tania Maria Elisa
La traversée - Magali Brueder
La mémoire en acte - Quarente ans de création musicale
Retour d'y voir - n° 3 & 4 - Mamco
Anderlecht — Molenbeek - Pierre Blondel
Sakae Osugi – Anarchiste japonais – Ville de St-Denis 1923 - Katja Stuke, Oliver Sieber
Brush Master - Jasper "Mississippi" Travis
Jérôme LeGlatin (avec Mel Crawford) - Le Crash
La peinture c'est comme les pépites - Pierre Yves-Hélou + Tirage
ADBC du Dessin - Jacques Floret
A l'origine - Anne-Émilie-Philippe
Promenade au pays de l'écriture - Armando Petrucci
Je ne peux pas ne pas - Geneviève Romang
À partir de n°1 - Coll.
Who Are You Dorothy Dean? - Edited by / Edité par Anaïs Ngbanzo.
MENU メニュー - Wataru Tominaga
Aurore Colbert - Marie Mons
Grilles - Zelda Mauger
Pilote - Mathilde Sauzay
Gnose & Gnose & Gnose - Aymeric Vergnon-d'Alençon 











































