Encompassing both surrounding environment and exhibition, tactile transitions define Hana Miletić’s solo show at LambdaLambdaLambda gallery. The first work in the exhibition, taken from a series collectively titled “Softwares” (2018–19) and displayed in the gallery’s entrance, is made from varieties of gray thread. This “pictorial weaving”—the term Anni Albers used to describe hand-woven artworks rather than fabric for everyday use—consists of a pattern vertically repeated four times. Roving the streets of her hometown of Zagreb, or her current home of Brussels, Miletić documents found situations and portrays them in her work. One “Softwares” piece, dated 2018, is an abstracted image of a photograph Miletić took of something she saw on the street, a broken car window fixed with tape: the kind of makeshift repair people do when pragmatism is encouraged by financial necessity. Such traces of necessity and care—protection, maybe—are among Miletić’s central interests. The shape that defines the pattern of this “Softwares” work is also based, in part, on the machine it was made on: a Jacquard loom. Developed to produce household textiles, the loom’s efficient design replicates any given pattern four times. “Softwares” also evidences an artistic process of translation, in which a reparation becomes a photograph, …

The end of Mother Theresa Boulevard, a pedestrian street in downtown Pristina, is marked by the slightly run-down Grand Hotel Prishtina and its weird twin, a post-war attachment to the main building. It is a sunny Saturday afternoon, summer has definitely arrived, and excited teenagers dressed up for their school prom are gathered in front of the hotel that was once the pride of Pristina, marking the beat of its social life. During the struggle for liberation, the Grand Hotel was first a press office for the international media and then the headquarters for Serbian paramilitary troops. Buildings around the public square stand for the many faces and phases of a recent, heavy history. Crossing the street, down by the busy Metro Cafe, a backyard hosts the freshly opened project space Lambdalambdalambda, an initiative of Viennese curatorial duo Isabella Ritter and Katharina Schendl. Currently on view is “Daily Business,” a collaboration between Tobias Spichtig and Paolo Thorsen-Nagel. In its close vicinity are the state television studio, the iconic National Library built in 1982 by the Croatian architect Andrija Mutnjakovic with an imposing Brutalist design, and the Kosova National Art Gallery. Everything around the scene is part of its meaning: a …