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.

Sillo n°3 - Le Fauve
Hérésie Étiologique - coll.
Editer l’art – Leszek Brogowski
Hideous - Thomas Perrodin, Néoine Pifer
Rois de la forêt - Alain Garlan
Temps d'arrêt - Etienne Buyse
Critique d'art n°55
Syrtis Major - Barbara Meuli, Antoine Fischer
Fluent - Laëticia Donval
Avec ce qu'il resterait à dire - Anne Maurel
SKKS - Gilles Pourtier
Un cahier - Michel Quarez
Acteurs d'un film gravé. Docteur A. Infirmier O. - Annabelle Dupret, Olivier Deprez et Adolpho Avril
Je ne peux pas ne pas - Geneviève Romang
Dada à Zurich – Le mot et l’image (1915-1916)Hugo Ball
La chasse Galerine - Jéréméy Piningre & Aëla Maï Cabel
Photographic Fields - Joël Van Audenhaege
Le corps travesti - Michel Journiac
WREK The Algorithm! - Aarnoud Rommens, Olivier Deprez - FR
Oasis - Stéphane Ruchaud, Christophe Honoré
Délié - Baptiste Oberson
Inframince et hyperlié - Philippe Lipcare
Gros Gris n°4 - Duel
Dédale - Laurent Chardon
La traversée - Magali Brueder
Catalogue Art Guys - That's painting productions, Bernard Brunon
Turbo Decompress - Coll.
RÉVÉSZ LÁSZLÓ LÁSZLÓ , Not Secret
Optical Sound 3
Roven n°4
Flynn zine # 1 - Flynn Maria Bergmann
Les Climats II (Japon) - Lola Reboud, Mariko Takeuchi
Salt Crystal - Fabio Parizzi
Illusive prosody - Alex Beaurain
Rue Englelab, La révolution par les livres - Iran 1979 - 1983 - Hannah Darabi
Zoom Age - Julien Auregan
Piano - Joseph Charroy
Polyphème (d'après Euripide) - J. & E. LeGlatin
Lavalse des tambours - Paul Rey
Keywording (Post) Contemporary Art - Greta Rusttt
Burning Images, A History of Effigy Protests - Florian Göttke
Paravents - Eva Taulois
Un peu comme voir dans la nuit - Leif Elggren + CD
Soleil, eau, vent : vers l'autonomie énergétique - Delphine Bauer
Eros negro #2 - Demoniak
Pas vu Pas pris - Collectif, Olivier Deloignon, Guillaume Dégé
Poétique d'une introspection visuelle - Jean-Charles Andrieu de Levis, Alex Barbier
De l'objet (comme un parcours) - Collectif, Sandra Chamaret
Der Erste Rotkehlchen - Le livre 











































