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.
Manifeste d'intérieurs ; penser dans les médias élargis - Javier Fernández Contreras
Philonimo - Le Papillon de Tchouang-Tseu - Alice Brière-Haquet, Raphaële Enjary
Ce que l'histoire fait au graphisme - Clémence Imbert
Gros Gris n°4 - Duel
Le Cygne de Popper - Alice Brière-Haquet, Janik Coat
Eros negro n°4 - Démoniak
Halogénure #04
Polyphème (d'après Euripide) - J. & E. LeGlatin
Tu peux répéter ? – Écrire, parler, expérimenter les langues - Marianne Mispelaëre
Before Science - Gilles Pourtier, Anne-Claire Broc'h
Nombril #1
UP8 — Pour une pédagogie de l'architecture
Aurore Colbert - Marie Mons
America - Ayline Olukman, Hélène Gaudy
La France de tête - Lot de 4 numéros
Piano - Joseph Charroy
Roven n°5
Titanic Orchestra - Julien Mauve
À partir de n°1 - Coll.
akaBB - tribute to Roni horn
People in a faraday cage - Stéphanie Gygax
Délié - Baptiste Oberson
Shanghai Cosmetic - Leslie Moquin
Critique d'art n°56
Barrage de Sarrans - Sandrine Marc
Farandole - Jérémie Fischer
Critique & création - L.L. de Mars
Grilles - Zelda Mauger
Watch out - Anne-Émilie-Philippe
Good Company - Paul Van der Eerden
Imagos - Noémie Lothe
Hello tomato - Marion Caron & Camille Trimardeau
10 MINUTES Architects and Designers in Conversation
Temps d'arrêt - Etienne Buyse
Illusive prosody - Alex Beaurain
Pectus Excavatum - Quentin Yvelin
Dernier royaume - Quentin Derouet 











































