Hana Miletić
Sint-Annabos
The photographs were printed using the Fresson technique, a carbon printing technique that was used in the early days of photography. The process involves natural carbon extracted from burned organic material that is then deposited on the paper in order to render the picture. Thus, in a way, the photographs of the Sint-Annabos forest suggest a potential for the reincarnation of the trees threatened by destruction. They call for the preservation of such secret and dangerous places within the Europe’s carefully engineered, suburban landscape.
In addition, the dramatic effect of the Fresson printing technique grants a deep and dark image quality, creating an almost mystical atmosphere inhabiting the photographs.Moreover, the photographs of the trees are not presented in an exclusively typological fashion. I wanted to reawaken the sense of mystery and uncanniness in the experience of the European forest at large. The photographs remind of the fact that once – long before modernity disenchanted the forest and turned it into a place of leisure and recreation – the forest was considered as an impenetrable place inhabited by wolves, witches and bandits.
Coif Mode
Both, Hana’s book and Mladen’s book, are, among other things, also sequences of a flâneur, a concept of revolving the cities in which they live and work. The rhythm of movement, the direction of the view the continuity of the interest can be at least partially recognized within them, which is accentuated also by choosing the accordion format. Stilinović’s specific concern does not regard the media issue, which is, on the other hand, constantly in Hana Miletić’s focus. Although Hana in some previous series (Class of 2008, The Molem Collective), as well as in Coif Mode, chose the strategy of the creator-amateur, collecting and then citing the photographs of unknown authors, she examines the statuses of photography as an object, the position and the role of the subject, the media functionality and its role as a carrier of meaning. Coif Mode is a series which questions the relationship with the photographic portrait, with the image of the other in which she does not reflect, consciously avoiding being present in the shot.
// Sandra Križić Roban
(Excerpt from the text: “Is today really everything so dreadfully the same, or, on Hana Miletić’s fascination with Stilinović’s Hairdressers”)
The Molem Collective
The bold and objective aesthetics of his photography is very close to my own artistic practices. Haddou is holding up every shoe against a slightly different background which consists of different walls of his bedroom; every close-up is shot from the same side angle.
The selection of rap songs, chosen by the young man himself, reveals even more about the remarkable collection and his owner. Here the rigor of the photographic series is played out against the personal tone of the project. Against the background of his favourite songs, Zak shares stories related to his collection of sneakers that introduce the audience to the hip hop culture. But despite the status symbols, a more personal story is told, related to the boy’s experience of ‘coming of age.
The Molem Collective project was released as a limited edition LP record (Art Paper Editions, 2013). The yellow record sleeve and the blue vinyl label refer to the flag colours of Sint-Jans-Molenbeek, better known as ‘Molem’ in slang, the multi-ethnic neighbourhood where this young man lives.
The Molem Collective is part of a larger socio-artistic research project Molem (www.molem.be). This versatile project has an organic structure where meetings and experiences can lead to a further exploration of this contested Brussels area.
Hana Miletić was born in 1982, in Zagreb. She holds a degree in photography (Master of Fine Arts, the Royal Academy of Fine Arts, Antwerp) and she also has a master’s degree in art history and archeology (Vrije Universiteit Brussel). After she graduated, she continued to advance her studies at the Jan van Eyck Academy, Maastricht.
She works as a research assistant and research associate at the Department of Photography, at LUCA School of the Arts in Brussels.
She is an award-winning artist; she exhibited her work at numerous solo and group exhibitions in Croatia and abroad; she also authored several acclaimed artists’ books.
In her work, Hana Miletić documents, collects and questions the phenomenon of cultural identity. Documentary photography, that is, street-photography, is the foundation of her art practice, but the author does not approach it as a discipline that has to be homogenous and contained within the photographic medium. By using different printing techniques and non-photographic methods she wants to establish a connection between the multiple ways of reading an image and its form. Via her work, Miletić wants to initiate a dialogue which she considers necessary in capturing the mutable social reality. Therefore, she uses photography as a catalyst in her work process in order to conceptualize her artwork and installations.
- Ivana Pegan
- Glorija Lizde
- Petra Slobodnjak
- Karlo Čargonja
- Valentino Bilić Prcić
- Darija Jelinčić
- Ivan Gundić
- Nina Đurđević
- Luka Pešun
- Katarina Juričić
- Sanja Bistričić Srića
- Dea Botica
- Lana Stojićević
- Ana Vuko
- Ivan Buvinić
- Denis Butorac
- Ana Bilankov
- Darko Bavoljak
- Bojan Mrđenović
- Petra Mrša
- Hana Miletić
- Borko Vukosav
- Jelena Blagović
- Davor Konjikušić
- Domagoj Blažević
- SofijaSilvia
- Davor Sanvincenti
- Darije Petković
- Ana Opalić
- Hrvoje Slovenc
- Marko Ercegović
- Jasenko Rasol
- Sandro Đukić
- Sandra Vitaljić
- Igor Kuduz
- Silvestar Kolbas
- Mirjana Vodopija
- Ivan Posavec
- Goran Trbuljak
- Josip Klarica
- Petar Dabac
- Žarko Vijatović
- Boris Cvjetanović