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.

Inframince et hyperlié - Philippe Lipcare
Wobby #30 - Overgrown
Titanic Orchestra - Julien Mauve
Musée des Beaux-Arts - Pierre Martel
Image Canoë - Jérémie Gindre
Sillo n°3 - Le Fauve
Good Company - Paul Van der Eerden
L’Écureuil de James - Alice Brière-Haquet, Liuna Virardi
Critique d'art n°55
Talweg 6 - La distance
Les Climats II (Japon) - Lola Reboud, Mariko Takeuchi
À partir de n°1 - Coll.
La France de tête #04
Salt Crystal - Fabio Parizzi
Alma Mater n°1
ARTZINES #1, Paris issue
Une goutte d'homme - Alice Dourlen
MENU メニュー - Wataru Tominaga
Before Science - Gilles Pourtier, Anne-Claire Broc'h
Jean-Jacques a dit - Angèle Douche
Le Monde en situation - Vanessa Theodoropoulou
Oblikvaj 2 - L'amour à la maison - Yannis La Macchia, Ensemble Battida
Délié - Baptiste Oberson
Email Diamant - Fabienne Radi
fil·le·s de polypropylène bleu - coll.
Gros Gris n°4 - Duel
Retour d'y voir - n° 3 & 4 - Mamco
How Many - Nathalie Du Pasquier
Débris N°2 - Théo Garnier Greuez
Paysageur n°3 - Mobiles
Eurob0ys Crysis - Massimiliano Bomba, Leon Sadler, Yannick Val Gesto
Dernier royaume - Quentin Derouet
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
Tomber dans l'escalier - Jasper Sebastian Stürup
Marcel Proust en cinq minutes — Jackson B. Smith
SKKS - Gilles Pourtier
Rasclose - Geoffroy Mathieu
Machiavel chez les babouins - Tim Ingold
Objets Minces - Collectif
Saint Julien l'hospitalier Tome 1 - Claire Pedot
Holy Mountain - Maia Matches, Knuckles & Notch
We want to look up at the Sun, but could the Sun be looking down on us? - Rudy Guedj & Olivier Goethals
16 x 421 - Lorraine Druon
La traversée - Magali Brueder 











































