Hannah Santana

performance

Performance is the experience of art, of presence, of compassion, of directness, of honesty, of vulnerability, of confrontation, of vitality, of body, of closeness, of passion, of reaction, of society, of individuality, of experience, of power and of failure.


You have to be present, to open up, to show yourself, to allow yourself to be . 

Performance takes place in the present and, with passion and extraordinary directness, enforces the honesty of existence and thus allows confrontation and questioning.

It is unfettered from an explicit interpretation and therefore a medium of constructing reality and possibility.




blind spots

During an online seminar, called "bright lights in hard times" I did this long durational (2,5h) performance, where I put two red painted paving stones on top of my eyes. They were hanging on two strings and a nail on a wall, but fell with full weight on and against my eyes. I can't see, I can't move, just be and listen. 

photo by Mounir Karis

06.2020


Hannah Santana
Hannah Santana
Hannah Santana
Hannah Santana

Como somos?

Duration: 20 minutes (+60 minutes of still)

PerformanceArtStudies, SomoS, Berlin,
photo by Monika Deimling


I'm lying in the middle of the room on my back, hands and arms stretched above my head, my legs open wide. Every muscle is tense, except the eyes. Clothes tone-in-tone with the floor. In my hands I hold white strings tied and attached to paving stones (collected in Berlin streets), which are lying spread above my head. People come near me, to touch the stones and read what is written on them. With my eyes closed, I can only feel the strings pulling. The hands hold tight, hurt. A loud scream, a twitch, my eyes open. People wake up. A jerk, a second jolt, I sit up and do not let go of the strings. Around me, a semicircle of people standing and sitting. Slowly my body gets up and pulls up the stones by the strings together to the air. I hold the weight up, looking people in the eye. The sentence sounds out loud Eu tenho medo. Ich habe Angst. I am afraid. The stones sound back on the floor. On every stone there is written a fear. I pull a stone, chose a person, turn to her, call out my fear and ask: Do you feel the same?. With each answer, I arrange the stone on a principal and empty wall. Yes and no. What matters is not the answer itself, but the eyes of the respondent. I create a statistic. How scared are we here and now? After further questions I hold up the rest of the stones and ask loudly and aggressively: Why did you push it? and I leave the room with the unknown and unsaid fears. What stays behind, are the chosen stones and confessed fears, on one side the no, on the other the yes and with that the silence. 

 

10.08.19


Hannah Santana

fremdschämen 

video performance
video stills


In this video performance (40 minutes) I keep on turning a red string around my head. My eyes are constantly looking at the camera lens. While turning the string around, my face starts to be  covered and slowly deformed by pushing. I don't feel pain, but a strong pressure, that makes breathing, keeping eyes open and listening hard. After covering up most of the face, I become irrecognizable until a certain point where I start to go backwards uncovering the face again, still feeling all the pressure left behind by this act.

 This idea appeared while I was looking for an expression for how I feel about all the acts of racism appearing and reappearing again and again. I'm tired of history repeating itself and the feeling of under pressure and pain it leaves behind. I feel shy, so shy that breathing, looking and listening to this acts of violence and injustice become impossible to swallow without a deep anger and struggle behind...


06.2020


Hannah Santana
Hannah Santana
Hannah Santana
Hannah Santana

knots

moving with knots in public spaces of Berlin, 
photo by Mounir Karis


02.2020


Hannah Santana

from me to you

Performance with Theresa Sowka,
PerformanceArtStudies, SomoS, Berlin, 
photo by Monika Deimling


Theresa Sowka received from me a box full of red objects (tomatoes, peaches, a book, a vase, dried flowers, a mirror, color, scissors, a pincer, a tape, a pencil, a letter, a lighter, a skirt) and the invitation to use me in the performance. We entered the room, me dressing a red dress and she in her green, grey daily clothes, I stood behind her keeping my eyes on her watching her. She sat down, I sat down, Nothing was planned. She open the box, took each object out and distributed them around her on the ground. She took her trousers off and dressed the skirt. She took the lighter and lightened the flowers. The burning roses started to cover the room with a biting smell. She took her shirt off and covered her breast and face with the red color. After a straight look into the audience she stood up dressed her shirt and I followed her, giving my last and only glance to the audience from the position she was standing before. 

A gift from a woman to woman seems rare in these days, we thought.
Standing together and side by side seeing each others vulnerability as a strength is a way we long for. Together we are able to look back, relearn and gather thoughts and strengths for a stronger female future. 


09.07.2019


Hannah Santana

untitled

50 min. performance,
PerformanceArtStudies, SomoS, Berlin, 
photo by Monika Deimling


I am sitting on the ground and leaning to the wall. Open gestures, open eyes.
 I am looking up, past everything, looking inside.
Snippets (cut art works, drawings, photos, texts) lie around me and on top of me. I feel the time receptively, passively, keep on listening. My limbs become hard and cold, my ears much more sensitive, my eyes hurt by keeping them open wide. Holding hands carrying and waiting. On my right is a plastered book. Only one line is still free, but also crossed out with a thin plaster thread. ", sie träumte davon."

This work deals with lost and kept memories spread looking back into life. Life is full, full of immaterial richness. Lost in pieces I try to gather them as inspirations, lessons and material to continue working as an artist.


08.07.2019


Hannah Santana

saudade
silently screaming

PerformanceArtStudies, SomoS, Berlin, 
photo by Monika Deimling


I am standing in the middle of the room, being watched. With firm strong steps I walk backwards with my eyes closed. My hands are stretched out to the back, grasping what comes. I hit a wall. I try to keep walking back. Try to push the wall. Again and again. Resistance. My right hand grabs my clothes - my eyes open - and pulls me away from the wall. The other hand pulls with it. The body doesn't want to go forward, away from the wall. Small slow steps are enforced, taking me out of balance. I'm staring straight ahead. Hands pulling me forward. The mouth silently screams the word "saudade" over and over. The hands pull the clothes over the head and make the body sit on the ground in in an embryonic position, covered in silent black clothes.


04.07.2019


Hannah Santana

Zeichen

Hochschule für Künste im Sozialen, Ottersberg
photo by Mounir Karis


Walking in and out of my studio, this place becomes a place for rethinking my ways I took in the past and will take in my next art projects. Art studios are sacred for me, a personal space in between. Here are my footprints, my thoughts as close and imperfect as they can be. A place that is full of process gathered and intertwined moments of thoughts not knowing what comes next.  

02.2017


Hannah Santana

Outing

Marta Herford Museum
Exhibition Die innere Haut
photo by Cony Theis

06.04.2017


Hannah Santana

Grenzerfahrung

 Skulpturenpark der Gerisch-Stiftung in Neumünster 

19.06.2016


Hannah Santana

Von der Erinnerung bis zum Vergessen

series of performances
 Hochschule für Künste im Sozialen, Ottersberg

2015- 2016


Performative art education in and within exhibitions


As an artist and performer, my body is learning to act awake and attentive. The body places itself in relation to space, exhibition and work. The artist in me is awake, sensitive and attentive to every possible impulse. The performer wants to incarnate, to be part and to answer. 

The exhibition becomes a studio, the moment a performance and the body a medium in between. A threshold-like experience, which makes it possible to internalize content, form, work, exhibition and space and to create contact.

The encounter with art becomes an act, an interaction moving towards a threshold that turns space as such into art.

To do this, we have to learn to occupy it, to appropriate shape it and step in between. We can expand, continue and supplement exhibitions, with lively encounters and visible resonance.

Hannah Santana

Resonanzperformance II 

Günther Uecker, Wind, 2008

Lübecker Museen, Kunsthalle St. Annen in der Ausstellung Lübeck Sammelt 1. Von Max Beckmann bis Moroslav Tichý

04. - 05.2017


Hannah Santana

Resonanzperformance III 

Übergabe by Alicja Kwade

Weserburg - Ausstellung Künstlerräume


07.05.2017


Hannah Santana

Resonanzperformances I 

 series of performances
Andrew Gilbert

St. Petri Kirche & Overbeck Gesellschaft, Verein von Kunstfreunden e.V.
Exhibition Ulundi is Jerusalem, Andrew is Empereor, Brocoli is Holy 

Anderswo-Projekt, HKS Ottersberg

03.-04.2016


Hannah Santana

Artists: 

If you have an exhibition and would like to have my resonance and performative reaction to your work, feel free to contact me.