In her practice Hana Miletić reflects on issues of representation and social reproduction, while giving insights about her use of photography and the linkages between photography and weaving. Miletić models the textiles after photographs she takes in the streets of Brussels and Zagreb, documenting marks of both damage and repair. In order to address the questions of representation and reproduction– an economy inherent to photography– outside its medium, she choses not to exhibit the aforementioned photographs. Those exist independently of the woven works, predominantly as jpegs in printed media.
Focusing on community structures and social interactions, her artistic practice explores the consequences of political failures and economical recessions for the individual and society. Miletić sees the weaving process – which requires considerable time and dedication – as a way to counteract certain economic, political and social forces. She calls this practice “care work” or “reproductive labour”, referring to the ideas of materialist feminism. This movement, which emerged in the 1970s, denounced how domestic work – most often assigned to female and migrant workers – is undervalued in patriarchal and capitalist societies.
Hana Miletić (*1982), born in Zagreb, is based in Brussels. She studied Photography at the Royal Academy of Fine Arts Antwerp and the Gerrit Rietveld Academie, Amsterdam; Art History and Archaeology at the Free University of Brussels; and Gender Studies at Utrecht University. In 2018 WIELS Contemporary Art Centre in Brussels presented her first big institutional solo exhibition. She recently took part in group-exhibitions at the contemporary art museum S.M.A.K., Ghent (2018-19); Metro Pictures, New York (2019); TextielMuseum, Tilburg (2018-19); the 13th Sharjah Biennial (2017) and Palais de Tokyo, Paris (2016). In 2015 she was awarded the BOZAR Prize in the framework of the Young Belgian Art Prize.