Photo Bea Borgers
Hana Miletic
Artist / Photographer

Hana Miletić was born in Zagreb (1982), she lives and works in Brussels and Zagreb. In her work she explores the residues and upheavals of political changes, whereby she focuses on the formation of subjectivity, on the level of both the individual and the community. She describes her artistic practice as street photography via which she documents objects and narratives. Photography serves as a means of orientation in her ongoing exploration of social realities. She has a multiform practice that includes, among others, sculptures, textiles, performances, workshops, printed matter and writing.

The last two years she has developed a weaving practice in community weaving workshops in Brussels. It is a practice that, on the one hand, allows her to connect with a craft rooted in her family’s female genealogy and, on the other hand, provides her with time to engage with its metaphorical social implications. Her cultural roots inform her work, while her research reflects the consequences of political practices and economic influences that reiterate across time and place. Via re-enactment and scrutiny, she addresses inventive approaches to scarcities, damages and obstacles, aiming to bring minor actions and practices to attention and committing to the subversive potential of finding alternative modes of dealing with existing measures, administrations and ideologies.

Hana Miletic
Artist / Photographer

Hana Miletić was born in Zagreb (1982), she lives and works in Brussels and Zagreb. In her work she explores the residues and upheavals of political changes, whereby she focuses on the formation of subjectivity, on the level of both the individual and the community. She describes her artistic practice as street photography via which she documents objects and narratives. Photography serves as a means of orientation in her ongoing exploration of social realities. She has a multiform practice that includes, among others, sculptures, textiles, performances, workshops, printed matter and writing.

The last two years she has developed a weaving practice in community weaving workshops in Brussels. It is a practice that, on the one hand, allows her to connect with a craft rooted in her family’s female genealogy and, on the other hand, provides her with time to engage with its metaphorical social implications. Her cultural roots inform her work, while her research reflects the consequences of political practices and economic influences that reiterate across time and place. Via re-enactment and scrutiny, she addresses inventive approaches to scarcities, damages and obstacles, aiming to bring minor actions and practices to attention and committing to the subversive potential of finding alternative modes of dealing with existing measures, administrations and ideologies.

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