**Leonie Brandner, Antje Dahte, Itsthevibe, Daria Jelonek, Lukas Liese, Lena Policzka, Anton von Heiseler, Cindy Wegner, Lina Zacher**

  
It is the aim to develop a meaningful symbiosis between ecology, globalization and artistic practice. Contemporary art can therefore work as a wake-up call for climate and environmental protection, which makes devastating images of climate catastrophes and destruction visible.With this in mind, the exhibition title “Biopsy” refers to the Greek words bíos “life”, and ópsis “seeing”. To conduct a biopsy means to examine tissue samples of a living body. In the manner of pathology, where the removed bioptates are examined under a microscope, the selected artists aim to analyse a certain aspect with the help of art. The spectator should be activated to discover the presence, cause, or extent of the disease.It is essential to use the tension between catastrophe and aesthetics in a productive way. Art and culture can take responsibility in this debate by addressing problems in an artistic way, pointing out visions for a sustainable future.

Biopsie (by artburst berlin e.v.)

On October 19, 1983, Galerie im Körnerpark opened in the middle of idyllic Körnerpark as Neukölln’s first municipal gallery. Numerous exhibitions, events and projects reflect the cultural life beyond the city’s borders. The 40th anniversary of the gallery is a reason to celebrate and at the same time an opportunity to reflect on past projects.

  
_La Bonanza_ was a Thank you to all the artists, curators, contributors, supporters and visitors who have shaped Galerie im Körnerpark over the last four decades – into a place of art, creativity and cultural enrichment for everyone.

  
In collaboration with the collectives _LaLoVe’s Kitchen_, _Soy Division_, and _African Acid Is The Future_, artist Lalo Gomes conceived a performance evening of three acts that translates the gallery’s interdisciplinary and rich history into a contemporary context: through the interplay of interventions, narratives, sound, dance, and food, a communal experience unfolds on the terrace in front of the gallery that also invited to think about future artistic and social visions. The three culinary performative elements did not succeed each other chronologically, but were dramaturgically intertwined.

  
**Soy Division** 

Inspired by various plants used as culinary ingredients, Ariel W. Orah and his collective _Soy Division_ choreograph movement and sound. The audience is invited to connect with the plants, learn from their wisdom, deepen their own understanding of themselves and the world, and work towards a fairer society.

  
**LaLoVe’s Kitchen**

For Lalo Gomes and his collective _LaLoVe’s Kitchen_, cooking is a communal experience. To this end, the audience is invited to share rice, beans and plantains, cook and eat together, and reflect on food as nourishment in the spirit of a collective consciousness during a time of abundance.

  
**African Acid is the Future** 

Dauwd Al Hilali and Maryisonacid of the collective _African Acid Is The Future_ fuse an experimental DJ set with fish and seafood delicacies for an aesthetic delight. The music leads into the final part of the evening in which all bodies warm up dancing together, while a birthday cake is served by Vava Dudu.

La Bonanza

**Stacie Ant, Lou Bessemer, Elisa Jule Braun, Christina Koch, Stefan Mildenberger, Lee Negris, Miriam Poletti, Jana Maria Schneider, Corinna Radakovits**

  
One important subject within the exhibition will be the involvement with sexual pleasure and desire. In which ways is the personal desire shaped by social norms and defined by the supposedly “normal”? How sophisticated and reflecting are we when it comes to communicating our own needs – especially if it deviates from the alleged norm? Separately from gender or sexual orientation – sexuality means proximity and intimacy as well as the exploration of one’s own or someone else’s body. Shame, taboos or a disturbed perception of the own body can have an impact on how we enjoy sexuality and limit our experience of pleasure. The exhibited works are putting the focus on a new, positive understanding of sexuality. 

It’s my pleasure is set to offer an open and unprejudiced space to present and discuss different sexual preferences, which will hopefully encourage a critical discurs – be it on pornography, masturbation or polygamie, homo- or bisexuality, fetishes or the dissolution of classic gender roles during sex.

It’s my pleasure (by artburst berlin e.v.)

As part of the Berlin-wide initiative “DRAUSSENSTADT,” the Department of Culture of the Bezirksamt Neukölln is organizing a festival around the Kunstbrücke am Wildenbruch from August 19 to 21, 2022\. Over the course of three days artists and artists’ collectives will present sound, dance and movement performances, a jam session and an interactive theater performance. 

The starting point for the festival is the location itself: the gallery, which is located under the Wildenbruch Bridge, has always been a space on the threshold, a place of “in-between”. The historic toilet facility was exposed to decay for decades and thus became an urban canvas for the surrounding creative scene. The projects are take a balancing act and react to this special place in multiple ways – on the threshold of up and down, above the gallery, on the bridge as well as along the former dock on the canal. What bridges have we already burned behind us? Can art bridge our differences? 

  
Full Programme: https://kunstbruecke-am-wildenbruch.de/en/events/auf-der-schwelle-unter-der-bruecke

Under the Bridge = On the threshold

**Fanny Gicquel, Adi Liraz, Zoë Claire Miller, Nelson Morales, Liz Rosenfeld, Aliza Shvarts, Agrina Vllasaliu**

  
_An Imagination of Bodily Autonomy_ is an exhibition project that looks at the way we treat our bodies. The body with which we move through the world not only determines our perception of the world, but also how others perceive us and treat us, and which rights are granted or denied to us.

Only 57% of all women worldwide are able to make self-determined decisions about their sexual and reproductive health, according to the United Nations’ annual State of World Population Report of 2022\. The body is thus a crucial site into which patriarchal structures are inscribed. However, not only women, but also queer, trans, BiPoc, and people with disabilities all know what it means to live in this world with a body that deviates from the purported norm.

The long-standing slogan of feminist movements in the struggle for the right to safe and freely accessible abortion, “My Body, My Choice,” serves as the starting point for a subjective, fragmentary investigation of the concept of bodily autonomy. The exhibition bringts together seven artist:s who have reclaimed their bodies performatively, taking up space in this world and are living bodily self-determination already in the present. Between fragility and resilience, this is not an escape from reality, but a self-confident statement: the artists take what is theirs.

For the duration of their exhibition visit, the audience of Galerie im Saalbau enter an alternative space in which they can imagine what it would be like if everyone could decide freely and without restrictions about their bodies.

Accompanying the exhibition we are happy to present a publication, containing the photographic exhibition documentation and work texts in German and English as well as three additional guest contributions, which explore the topic of bodily autonomy in different ways. The guest contributions include texts by Amaranta Gómez Regalado (Mexican Muxe social anthropologist and political activist), Franzis Kabisch (Abortion TV) as well as an interview by Aliza Shvarts with Viva Ruiz (Thank God for Abortions).

An Imagination of Bodily Autonomy

**Nadine Byrne, Cecilia Granara, Mazen Kahhdaj, Aneh Ondare, Paloma Proudfoot, Claudia Reinhardt, Mathilde ter Heijne, Jaan Toomik, Melanie Wiksell**

  
Loss and grief are inevitable and universal experiences that nevertheless each of us encounter unexpectedly sooner or later. The exhibition “Contours of Grief” explores this tension and examines the different emotional states of mourning through various artistic media.

We don’t know how we grieve until we grieve, notices Chimamanda Ngozi Adichie. Grief is a nonlinear process in which ambivalent emotional states collide. We feel detached and cut off from the world, with pressure on our chest and emptiness in our heart. At the same time, painful memories keep catching up with us, piercing through the indifferent protective layer like hot needles. Anger is followed by despair, loneliness by exhaustion, guilt by resignation. Even though each loss is unique, through sharing our pain we develop understanding for each other and can heal together.

In Western culture, mourning often still has negative connotations and is considered a taboo. People who are grieving are under social pressure to ‘function’ again as quickly as possible. Pauline Boss’ concept of “ambiguous loss” describes a shift in perspective that allows a more comprehensive personal and societal approach to grief. Ambiguous loss remains unclear, elusive, and therefore cannot have closure. In addition to the death of loved ones, Boss names many other experiences of ambiguous loss, physical and psychological. The result of her many years of research is the realization that grief cannot be controlled, but must be expressed and lived. Understanding grief as a process that can never be fully completed allows us to integrate it as a development in our identity and to continue a relationship with the objects and persons we have lost. The time we need to grieve is the transitional period before we adapt to our new reality. In doing so, we can learn to understand grief not as an end, but as a process of transformation. Following this example, the exhibition aims to create a space for the ambivalences of grief.

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Nina Marlene Kraus

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