Opening Reception: Basel Abbas and Ruanne Abou-Rahme and Hana Miletić

April 3, 2024
Event Types
Public Program
A large textile work hangs on a freestanding wall. It is composed of around nine sections of textile in varying shades of gray and black, seemingly “patched” together with strips of yellow fabric. One section is sky blue and stands out. The edges of the piece are irregular: sometimes, the fabric hangs freely in relatively straight lines; but along the top edge, the curved edge simply weight, tension, and stretching.

Hana Miletić, Materials - Arena, Pula, 2019–20. Handwoven and hand-knit textile and repurposed knitwear (black mercerized cotton, black organic cottolin, black silk, black viscose, turquoise organic cottolin, turquoise silk, yellow mercerized cotton, yellow organic cottolin, repurposed black, dark yellow and grey knitting yarns), 78 3/4 x 157 1/2 x 2 in. (200 x 400 x5 cm). Courtesy the artist and LambdaLambdaLambda, Prishtina, Kosovo, and Paris. Photo: Norbert Miguletz

Join us for the opening reception to celebrate two new exhibitions at the List Center, Basel Abbas and Ruanne Abou-Rahme: Only sounds that tremble through us and Hana Miletić: Soft Services.

Exhibiting artists and exhibition curators will be in attendance. Light refreshments will be served.

Basel Abbas and Ruanne Abou-Rahme: Only sounds that tremble through us

Abbas and Abou-Rahme’s forthcoming List Center presentation will take shape as a multi-channel sound and video installation, offering a new site-specific iteration of May amnesia never kiss us on the mouth (2020–ongoing). This multipart project joins fragments of communal song and dance in Iraq, Palestine, Syria, and Yemen, which the artists collected from videos posted on social media over the past decade, with new filmic performances created by the artists with dancers and musicians who responded to specific gestures, music, or texts from the archive.

Hana Miletić: Soft Services

The List Visual Arts Center will present the first US solo exhibition of Hana Miletić. Extending from her formal training as a photographer, the idiosyncratic shapes and color-schemes of the delicate, brightly colored weavings that are conceived in relation to street photography are based on Miletić’s snapshots of temporary repairs to buildings and objects in urban public spaces. Though never exhibited, her photographs of responsive, ad-hoc constructions (pink tape sutures on a car’s door, or teal netting swaddling a tree trunk) become templates for seemingly abstract textile pieces.