Hannah Santana

personal projects
collective projects
participatory projects
group exhibitions 

Santana Karis Kunst- & Keramikatelier GbR

It is nearly time. A new chapter in our lives is about to begin. In January 2022 Mounir & me will open our own studio and shop at Leibnizstrasse 47, 10629 Berlin. After an intensive renovation and production phase, we will soon be ready to open our doors to our art and ceramics studio for you. We would be happy if you come to visit us, support us and accompany us!⠀



Here is our current atelier space. 

You are welcome to visit us!


Make-Up is an emerging non-profit space for discussion, art production, neighborly encounters and unexpected events . 250m2 will be opened as a meeting and working space for artistic and activist work (with workshops, event space and a courtyard). 



In case you want to visit the collective contact us.

Wie fühlt es sich an?  
How does it feel?

This participatory art project How does it feel?  started back in February 2019, where I was looking on social media for prospective participants among patients currently suffering from an illness or people that have been recently in treatment. The 24 participants who accepted the invitation -consisting of 21 women and 3 men between 19 and 77 years old from Germany and Switzerland- received a plain patient hospital gown, which they then inscribed and processed with thoughts about their experiences.

The theme of illness and the threat to health is something that is hanging above us all during these recent pandemic times, making this exhibition more relevant than in any other historical moment. The fear of contagion, the acknowledgment of the possibility that one may fall ill is a silent companion.

The focus of this project is not on a specific disease or disease itself, but on the human being and their world of thoughts, first as an individual and then as a collective. The process of using the patient gown as a medium allowed the participants to externalize their inner states, thoughts and experiences, resulting also in the possibility of allowing others to enter their secluded and emotional spaces. Within this process, the gowns were alienated from their original purpose, becoming a canvas for the articulation of inner feelings: an open and non-judgmental space for self-expression.

Hospital practice is beginning to be more widely researched and questioned in search of more holistic approaches. Currently, patients are expected to conform to strict hospital standards once hospitalized, and are allocated in plain and aseptic rooms with very few personal items, dressed uniformly in plain gowns, in an environment that can’t reflect their personality or allow its expression. Dehumanized, objectified, and reduced to their medical condition, patients often feel devalued, undignified, and vulnerable, their condition becoming more real and defining, potentially negatively affecting the healing process.

The eerie feeling is given a historical and philosophical dimension, when we bring to mind how French scholar Michel Foucault noted the common focus on discipline, uniformity, and efficiency shared by institutions such as hospitals, asylums, schools, factories, the military, and prisons. Symbolically seen, the hospital gown may stand for the helplessness of the subject within technocratic institutions. In How does it feel? however, Hannah Santana invites the participants to reverse the symbolism of the gown, in a liberating creative process that leads from powerlessness to agency and dignity.

The dedication that these current or former patients have put in the personalization of the gown stands in strong contrast with the common standards of hospital care. The handwriting, the thoughts and the words of the patients transform the gowns and give a voice to the invisible traces of the everyday life of disease.

Carla Steinbrecher - Christine - Elisabeth - Elisabeth W. - Elke - Evita Emersleben - Fabian - Gunda - Insa Pape - Johanna - Johanna Wildhagen - Kathrin Stalder - Lea Berndl - Marion - Michaela Marcian - Nina Romming - Norma Ingenfeld - Raphael - Sigrid + 5 anonymous participants

© photo by Paulus Fugers



Politics / Poetics of Space

A political-artistic research on the mystification of the urban development of Berlin after the fall of the Berlin Wall.

Politik / Poetik des Raumes

Eine politisch–künstlerische Recherche zur Mystifizierung der Stadtentwicklung Berlins nach dem Mauerfall.

In der Ausstellung wurden die künstlerischen Arbeiten aus dem diesjährigen Theorie-Praxis-Projekt im Studiengang MA Raumstrategien an der Kunsthochschule Berlin Weissensee gezeigt.


In seiner 1998 verfassten Erzählung Stadterfahrungen skizziert Henri-Pierre Jeudy Berlin in den frühen Wendejahren als eine Stadt „die an den Schuhen klebt“, ermüdet von den geschichtlichen Exzessen, die das Bestreben der Politik nach einer neuen, globalen Signifikanz über sich ergehen lässt. Um den Umbau der Stadt so erfolgreich wie möglich gestalten zu können, musste die Stadt gefällig zu erfassen sein, sich in einem vereinfachten Narrativ ihres stadtgeschichtlichen Erbes fügen. 


Die Radikalität des Umbruchs, insbesondere das Städtische betreffend, wird zunehmend unsichtbarer und die Bewertung gerät erneut zwischen die ideologischen Fronten machtpolitischen Wirkens und den Wirkungsmechanismen der globalen Immobilienspekulation. Gegenwärtig verblassen die grundlegenden Verhandlungen, die Prozesse der Stadtpolitik und die Kultur der 90er Jahre neben dem beharrlich zitierten Erbe ökonomisch erfolgreicher Protagonist*innen und der Großprojekte. 


Nach 30 Jahren Mauerfall schein der städtische Umbau aufgebarbeitet und die urbanen Räume – die früheren Möglichkeits- und Verhandlungsräume  – sind verloren. Gefüllt wurden diese Orte mit Stadtansichten –  stilistischen Chimären –  die in ihrem architektonischen Wirken, eine „andere“ historische Stadtgeschichte heraufbeschwören. Diese Stadt „klebt“ weder an den Schuhen, noch verlangt sie neue Verhandlungen und Diskurse zur Stadt von morgen. Die 90er Jahre und die gleichzeitige Öffnung und Bespielung  von „Vakuum-Landschaften“ in Berlin (Ost) findet in die Gegenwart kaum Übersetzung. Die künstlerischen Arbeiten der Studierenden sind daher erste Versuche raumstrategischer Interventionen, um sich diesen Jahren neu bzw. anders zu nähern. 

(Anne Fenk)


Kunsthochschule Berlin Weissensee Wintersemester 19/2020

Abschlusskolloquium im n.b.k.

Neuer Berlin Kunstverein 

06. &07.02.2020

LebensWert Arbeit 

Participation in the one-year project at the HKS for the preparation and realization of the exhibition "LebensWert Arbeit" on the occasion of the 200th anniversary of Karl Marx in the museum at the Museum am Dom des Bistums Trier, under the direction of Prof. Jochen Stenschke and Prof. Cony Theis.



Spieglein Spieglein 

Collaboration in a project on the subject of participatory portraits under the direction of Prof. Cony Theis at the Alexianer Klinik in Münster in cooperation with the Kunsthaus Kannen.



Anderswo: interaktive Erkundung von Kunst

Collaboration in an art-based and mediating project within two project phases under the direction of Prof. Dr. Constanze Schulze-Stampa and Prof. Cony Theis in cooperation with the Overbeck Gesellschaft, Verein von Kunstfreunden e.V., the St. Petri Church and the Kunsthalle St. Annen, Lübeck.


2016 - 2017

Inklusion inklusive 

Participation in an inclusive project led by Prof. Michael Dörner as part of the course Art in Public Space (HKS) in cooperation with the Gerisch-Stiftung in Neumünster. 




If you have any questions or would like more information, please contact me.