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.

La prise - Florian Javet
WREK The Algorithm! - Aarnoud Rommens, Olivier Deprez
Modern Instances, The Craft of Photography - Stephen Shore
Superbemarché - Coll.
Après la révolution – numéro 1
It was a good day - Jeremy Le Corvaisier
Retour d'y voir - n° 1 & 2 - Mamco
Black Case Volume I and II: Return From Exile - Joseph Jarman
Roven n°4
Tomber dans l'escalier - Jasper Sebastian Stürup
Atopoz - Collectif
Dada à Zurich – Le mot et l’image (1915-1916)Hugo Ball
Jean-Jacques a dit - Angèle Douche
Entretiens – Jérôme Dupeyrat
Zoom Age - Julien Auregan
Bruits - Emmanuel Madec
Pour voir, Emscher Park - Gaëtane Lamarche-Vadel
Manifeste d'intérieurs ; penser dans les médias élargis - Javier Fernández Contreras
Dessins pour Rugir - Virginie Rochetti
Good Company - Paul Van der Eerden
De l'objet (comme un parcours) - Collectif, Sandra Chamaret
Holyhood, vol. 1 — Guadalupe, California - Alessandro Mercuri
Dear Paul - Paul Van der Eerden
Délié - Baptiste Oberson
Le corps travesti - Michel Journiac
L'internationale modique (AND 3) - J-M. Bertoyas
We want to look up at the Sun, but could the Sun be looking down on us? - Rudy Guedj & Olivier Goethals
Pénurie - Zivo, Jérôme Meizoz
Editer l’art – Leszek Brogowski
Catalogue Art Guys - That's painting productions, Bernard Brunon
Roven n°5
16 x 421 - Lorraine Druon
Gruppen n°13 - Collectif
Birds - Damien Poulain
Inframince et hyperlié - Philippe Lipcare
De tels baisers - Jul Gordon
IMPROVISATION N. 190220 - Miki Lowe
16 x 421 - Lorraine Druon
Acteurs d'un film gravé. Docteur A. Infirmier O. - Annabelle Dupret, Olivier Deprez et Adolpho Avril
Le dos des choses - Guillaume Goutal
Donne des racines au loup-garou & fais courir l'arbre la nuit - Pauline Barzilaï
In The Navy - Julien Kedryna
Philonimo - Le Corbeau d’Épictète - Alice Brière-Haquet, Csil
Burning Images, A History of Effigy Protests - Florian Göttke
Ellipse - Ismail Alaoui-Fdili
Le chateau enchanté - Atelier Mclane
Pectus Excavatum - Quentin Yvelin
The Shelf - Journal 3
America - Ayline Olukman, Hélène Gaudy 











































