Dependencies – Konzum supermarket, Zagreb (white cottolin, red, cottolin, cream cottolin, metal, royal blue cotto- lin and cobalt coloured viscose and silk), 2018, hand-woven textile, 520 x 1050 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Materials (platinum mercerised cotton, gunmetal grey cottolin, light grey combed cotton, grey raw wool and silver viscose and silk), 2018, hand-woven textile on plot print, 237 x 211 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Materials (silver leafing, platinum mercerised cotton, grey raw wool and silver viscose and silk), 2018, hand-woven textile, silver leafing, 86 x 82 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Dependencies – National and University Library of Bosnia and Herzegovina, Sarajevo (black mercerised cotton, black cottolin and charcoal cottolin), 2018. Hand-woven textile, 300 x 650 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
And Then Just Touch Me (Eureka-Ter, Brussels), 2008. Video (5:17 min in loop), colour, sound.
Materials (platinum mercerised cotton, gun metal grey cottolin and black cottolin), 2016. Hand-woven tex- tile, 60 x 80 cm. Installation view, Beursschouwburg, Brussels, 2016 © Bram Tack
Materials (hand-coloured black linen, black viscose, white chenille, white viscose, royal blue cotton and blue cotton), 2016. Hand-woven textile, 80 x 100 cm. Installation view, Beursschouwburg, Brussels, 2016 © Bram Tack
Materials (white nylon, variegated beige cotton and wool), 2017. Hand-woven textile, 147 x 66 cm. Courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
txt, Is Not Written Plain (draft III), 2017, audio installation with 12 handmade felts (120 x 300 cm) on metal backdrop stands, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem
txt, Is Not Written Plain (draft III), 2017, audio installation with 12 handmade felts (120 x 300 cm) on metal backdrop stands, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem
Dependencies – Charles Samuel, Van Humbeeck memorial, Science as a veiled muse, Brussels (black mercerised cot- ton, black cottolin, white cottolin and yellow cottolin), 2018. Hand-woven textile, 400 x 400 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Materials (indigo coloured raw wool, linen and viscose), 2018, hand-woven textile, 32 x 17 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Materials (saffron and turmeric coloured linen, nylon and cotton), 2018. Hand-woven textile, 17.5 x 6.5 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Materials (amber mercerised cotton, beige mercerised cotton, pink mercerised cotton and white mercerised cotton), 2017. Hand-woven textile, 20 x 35 cm. Courtesy of the artist. Installation view, Sharjah Biennial 13 Tamawuj, Sharjah, 2017 © Sharjah Art Foundation.
Materials (bronze coloured viscose and silk), 2017. Hand-woven textile, 15 x 30 cm. Collection Mu.ZEE, Ostend. Installation view, Sharjah Biennial 13 Tamawuj, Sharjah, 2017 © Sharjah Art Foundation.
Cosigned Landscape, with Emmy Van de Velde (beige cotton, variegated wool, white chenille and olive green chenille), 2017. Vinyl, hand-woven carpet, 200 x 75 cm. Courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Softwares (white polyester, vanilla cotton and nylon, white cotton, cream cottolin, variegated beige cottolin and gold polyester and viscose), 2018. Vinyl, jacquard-woven textile manipulated by hand, 250 x 150 cm, courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Cosigned Landscape, with Emmy Van de Velde (beige cotton, variegated wool, white chenille and olive green che- nille), 2017. Vinyl, hand-woven carpet, 200 x 75 cm. Courtesy of the artist. Installation view, Hana Miletić: Dependencies, WIELS, Brussels, 2018 © Kristien Daem.
Curator: Caroline Dumalin
Dependencies, the first major exhibition to date of Belgian artist Hana Miletić, is centred around the textile works that she made over the last three years. Reconnecting with a craft from her childhood in former Yugoslavia, she recently became active in communal textile workshops in Brussels, where she works together with women from different backgrounds.
The exhibition includes these collaborative works as well as a new series of large textiles, which Miletić wove on a handloom over the course of ten months. The artist modelled these after the photographs she took in the streets of Brussels and Zagreb, documenting makeshift solutions for fixing broken car parts or protecting buildings under construction.
The artist sees weaving—which requires considerable time and dedication—as a metaphorical process that allows her to reflect on certain social and cultural conditions. She calls this a practice of “care and repair,” through which she aims to re-evaluate the relationships between working, thinking and feeling.
Miletić goes beyond the reproductive labour of weaving to intervene sculpturally, undoing parts of the close-knit fabric to expose the intricate bonds between the yarns. Proposing a soft activism, she uses these material gestures to explore the values that bind (or separate) people.
Hana Miletić, born in 1982 in present-day Croatia, lives and works in Brussels. Miletić first came to Belgium in 1990 and is based there since 2001. She was a resident at
the Jan van Eyck Academie in Maastricht in 2014–15. In 2015, she was awarded the BOZAR Prize in the framework of the Young Belgian Art Prize. In 2016, WIELS and Kunstenfestivaldesarts invited her to participate in the 3-day festival Indiscipline at Palais de Tokyo in Paris. She recently took part in the 13th Sharjah Biennial (2017) and is currently associated artist of the Beursschouwburg, Brussels (2017–21).