• Auvergne: Toi et Moi in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi in RECORD: Cultural Pulses, RoFa Projects
    1440,960
  • Auvergne: Toi et Moi in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi in RECORD: Cultural Pulses, RoFa Projects
    720,960
  • Auvergne: Toi et Moi (Portrait, circa 1943), in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi (Portrait, circa 1943)
    710,960
  • Auvergne: Toi et Moi in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi in RECORD: Cultural Pulses, RoFa Projects
    1413,960
  • Auvergne: Toi et Moi (Le Mont Dore) in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi (Le Mont Dore)
    640,960
  • Auvergne: Toi et Moi (Wigdor, c. 1938), in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi (Wigdor, c. 1938)
    640,960
  • Auvergne: Toi et Moi (Tonton), in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi (Tonton)
    640,960
  • Auvergne: Toi et Moi (Le Mont Dore), in RECORD: Cultural Pulses, RoFa Projects (La Morada), 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Auvergne: Toi et Moi (Le Mont Dore)
    1440,960
  • Protegida/Watched Over -- Hélène I, in RECORD: Cultural Pulses, RoFa Projects, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Protegida/Watched Over -- Hélène I
    1440,960
  • Protegida/Watched Over -- Hélène I, in RECORD: Cultural Pulses, RoFa Projects, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Protegida/Watched Over -- Hélène I
    1440,960
  • RECORD: Cultural Pulses, II, RoFa Projects installation view, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    RECORD: Cultural Pulses, II, RoFa Projects installation view
    1440,960
  • Pulse: La novia (Homage, Rosa Mena Valenzuela), archival pigment print on anodized aluminum plate, 2020. RECORD: Cultural Pulses, RoFa Projects.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: La novia (Homage, Rosa Mena Valenzuela)
    1345,960
  • Pulse: Pulsante deseo (Homage, Carlos Cañas), archival pigment print on anodized aluminum, 2020. RECORD: Cultural Pulses, RoFa Projects.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: Pulsante deseo (Homage, Carlos Cañas)
    1341,960
  • Pulse: Seismic Register 2020.02.28.048 (Niño/17-III-8), archival pigment print on anodized aluminum plate, 2020 RECORD: Cultural Pulses, RoFa Projects.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: Seismic Register 2020.02.28.048 (Niño/17-III-8)
    1340,960
  • RECORD: Cultural Pulses, II, RoFa Projects installation view, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    RECORD: Cultural Pulses, II, RoFa Projects installation view
    1440,960
  • Pulse: Corazón (Homage, Luis Lazo), archival pigment print on Canson Edition Etching Rag, RECORD: Cultural Pulses, II, RoFa Projects installation shots, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: Corazón (Homage, Luis Lazo)
    644,960
  • Pulse: Réplicas, 1986 (Homage, Julio Sequeira), archival pigment print on Canson Edition Etching Rag, 2020.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: Réplicas, 1986 (Homage, Julio Sequeira)
    1440,483
  • RECORD: Cultural Pulses, II, RoFa Projects installation view, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    RECORD: Cultural Pulses, II, RoFa Projects installation view
    1440,960
  • RECORD: Cultural Pulses, II, RoFa Projects installation view, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    RECORD: Cultural Pulses, II, RoFa Projects installation view
    1378,960
  • Santos y sombras/Saints and Shadows vintage gelatin silver prints, RECORD: Cultural Pulses, RoFa Projects, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Santos y sombras/Saints and Shadows, RECORD: Cultural Pulses
    1440,960
  • Pulse: Exotismo al revés (Homage: Janine Janowski and Rosa Mena Valenzuela), archival pigment print on anodized aluminum plate, RECORD: Cultural Pulses, RoFa Projects, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: Exotismo al revés (Homage: Janine Janowski and RMV
    1293,960
  • Pulse: Exotismo al revés (Homage: Janine Janowski and Rosa Mena Valenzuela), archival pigment print on anodized aluminum plate, RECORD: Cultural Pulses, RoFa Projects, 2021.

    RECORD: Cultural Pulses at RoFa Projects, 2021

    Record: to repeat, reiterate, recite; rehearse, get by heart," from Old French recorder "tell, relate, repeat, recite, report, make known" and directly from Latin recordari "remember, call to mind, think over, be mindful of," from re- "restore" (see re-) + cor (genitive cordis) "heart" (as the metaphoric seat of memory, as in learn by heart). Pulse: directly from Latin pulsus (in pulsus venarum "beating from the blood in the veins").

    As if it were a record of her personal history, Muriel Hasbun takes a journey guided by the emotional pulse of her paternal Christian Palestinian and French Polish Jewish maternal family, blending it with her childhood in El Salvador. This is how, in Saints and Shadows and in Protegida and Auvergne-Toi et Moi, we see her search to make visible a family that, given cultural persecution and prejudice, was forced to become invisible.

    Images built with letters, postcards, documents, and testimonies give life to many stories and give beauty to the harshness of a violent reality.

    Hasbun's photographic work allows her to delve into and reconfigure her family's history, to make way not only for her multiple migrations, but also to trace the path that so many migrants have had to travel. These photographs carry the pulses of a particular time and place, which could be anyone's anywhere in the world and which, like our own heartbeats, can guide us if we pay attention to their rhythm.

    Likewise, with her photographs, Hasbun opens the way to other pulses which ultimately and collectively mix with her own; that is, she immerses us in the movements of the earth itself.

    In Pulse: New Cultural Registers Hasbun is fascinated by the seismographic records of El Salvador, and she records them with emotion and camera, and then merges them with the rescued cultural legacy left by Janine Janowski, her mother, and director of Galería el laberinto, an epicenter of cultural activity during the Salvadoran civil war between the 1980s and 90s.

    Her work is a fusion of the historical and artistic past of a country, with the emotional vision of an artist who refuses the erasure of family memory and collective history, framed within the artistic production of generations in El Salvador.

    RECORD: Cultural Pulses thus becomes a construct of her own identity, through the records of her family history and of her country of origin. The pulse of art and life is seen from Hasbun's visual, transnational, and transcultural metaphor. In her hands, photography becomes a means to evoke the drives and narratives of our realities, always subjective and learned by heart. 

    Gabriela Rosso, RoFa Projects.
    Pulse: Exotismo al revés (Homage: Janine Janowski and RMV
    1440,960
Click To Enlarge
Exit Enlarged View
Exit Stack View
RoFa Projects 2021- RECORD: Cultural Pulses
Previous Image
Slide Show
Next Image
RoFa Projects 2021- RECORD: Cultural Pulses
Description
Price Information
Share:
Copyright