Ashley started out as a self-funded project. This allowed presenting art in a self-determined way, especially by working artists not part of the commercial art market but also those flying under the radar of larger public institutions. Of course, this model also brought up the question of sustainability. In the last few years, with rising rents and spaces closing down, this question has become more and more pressing for everyone on the free scene. Winning the project space prize in 2018 was a pivotal moment for Ashley, particularly because beyond recognizing the work done by independently-run spaces, the prize money could be spread over several years to keep our program running. However, a prize also follows the logic of exceptionality which puts a lot of pressure on project spaces to ‘perform’. Hence, the structural funding program by the Senate significantly changed the conditions of our work because by confronting us with the administrative work inherent in public funding, we evolved our own internal structure to accommodate longer-term planning while still maintaining the flexibility needed to track the subtle changes in the art communities around us. Before this program, going from project to project rather than planning two years ahead, it was difficult to apply for project funding due to the fact that application deadlines are often one year in advance and therefore difficult to meet if you are not a publicly-funded institution or commercial project with the resources to plan several months or even a year ahead. So this program does help a lot to allow project spaces to stake a claim on public art funding. At the same time, with the structural funding approved on a two-year basis, it remains unclear how this mode of operating will last a few years, or even one year into the future.For many decades Berlin has developed a lively, diverse, and independent way of producing culture and counteracting government decisions, based on, local, generous, and enthusiastic, but also worried, social communities that exchanged resources and ideas within a larger political debate. The city became a “natural” shelter and fertile environment for dissidents, artists, political refugees, and immigrants with any background also due to the need to overcome a traumatic past full of human generated atrocities that are still present in people memories and behaviour.Ist eine Arbeit, die zur Ehre gereicht, denn moralisch und überhaupt besser als eine, die dazu noch Geld generiert? Sagt denn die künstliche Trennung von ehrenamtlich/nicht kommerziell und kommerziell nicht eigentlich Geld = schlecht. Es kann aber durchaus dazu dienen, ein wie auch immer gestaltetes konzeptuelles Programm zu realisieren. Kann denn in dieser Welt, wie sie sich heute knallhart darstellt, überhaupt dauerhaft behauptet werden, eine prekäre Lebenssituation sei erstrebenswert und eine Abkopplung vom Monetären möglich? Wird nicht dadurch erst der vorgezeichnete Weg systemisch gangbar gemacht, in einer Doktrin aufzusteigen und die schlechten Zeiten hinter sich zu lassen, die später die legendär verklärten guten Zeiten sein werden?