Image: Galerie Tschudi, Zuoz
Galerie Tschudi in Zuoz is presenting Hana Miletić’s ‘Not-Yets’ through 1 August 2026, with the exhibition listed on the gallery’s Zurich address at Rämistrasse 5. The presentation brings together textiles including ‘Materials’ (2025), ‘Joins’ (2024–2025) and ‘Untitled [Softwares]’ (2018–2026, ongoing), and is framed by a press text that asks how abstract form can depict social reality.
According to the gallery, Miletić has spent more than a decade working through questions of representation, using weaving to make social reality tangible while moving away from documentary photography as an endpoint. The exhibition text says photography remains present in her practice as a sketch or template, but that the slower, haptic medium of weaving replaces photographic immediacy with a reproductive act. In this sense, the woven works are positioned not as illustrations of events but as translations of photographed material into textiles.
The works on view are based on documentary photographs Miletić took of makeshift repairs in New York’s Financial District and in Bukhara, Uzbekistan. The gallery identifies ‘Materials’ as responding to a shattered glass window held together with adhesive tape, and ‘Joins’ as drawing from cement-filled cracks in a house facade. The press text describes these small acts as “minor gestures” — everyday forms of material care that arise from lack and deficiency and speak to resilience and resistance under precarity.
That emphasis on repair is central to the show’s language. The gallery says the act of taping, filling and mending produces abstract forms that can resemble branches or web-like structures, even though they originate in concrete acts of maintenance. Miletić’s textiles, the text argues, suggest that abstraction is not removed from life but actively produced by it, and that the “political materiality” of ordinary repairs can be registered through woven form.
‘Joins’ also carries an additional layer of labor: the exhibition text notes that its rear side bears traces of the work of the gold embroiderers Bakhshillo Jumaev and Mukkadas Jumaeva, who collaborated in its production. Meanwhile, ‘Untitled [Softwares]’ is described as an ongoing work made with an industrial Jacquard loom and linked to the transparency grid, a virtual tissue used as an underlay in digital image-making. In the gallery’s account, Miletić experiments with irregularities and errors in the Jacquard process so that loose hanging threads create small gaps revealing what lies behind.
The title ‘Not-Yets’ points, in the gallery’s text, to unrealized potential and anticipation. The exhibition text connects that idea to virtuality, speculation and the historical practice of holding gold reserves, while also placing Miletić’s weaving in relation to reproductive labor and a long history of work associated with the feminine. The show’s framing text, written by Kathrin Bentele, places these ideas within the broader context of Zurich’s digital finance economy and its largely invisible forms of material deprivation.
‘Not-Yets’ is on view at Galerie Tschudi from 12 June to 1 August 2026, after which the gallery says it will close for a summer break until 3 September 2026. The exhibition’s listed works include hand-woven and hand-embroidered textiles, with ‘Materials’ and multiple versions of ‘Joins’ shown alongside the ongoing ‘Untitled [Softwares]’ series.
