“There where once low cards and aces let it all hang out, / Berlin air will now be wrapped up. The main thing is, / the tourists have a good time and don’t make a noise, / and don’t use up all our strychnine when they snort cocaine.” (Bert Papenfuß)
In “Psychonautikon Prenzlauer Berg” space pirates and paramilitary forces, cosmonauts and adventurers, underworld cant and Swabian brats, T. Rex and Franz Jung collide with a bang.Here poet and legendary Berlin barkeeper (“Kaffee Burger”, “Kulturspelunke Rumbalotte continua”) Bert Papenfuß, one of the key figures of the creative underground in East Germany, and artist and musician Ronald Lippok (Ornament & Verbrechen, Tarwater) give the finger to the gentrification of the Prenzlauer Berg quarter of Berlin. A stream of information and associations that can barely be contained rolls through their “Psychonautikon”. Three poetry cycles (“Pißpott revisited”, “Pißpott revisited for worse”, “Pro tussi à gogo”), two essays (“Abflugschneise Nordost”, “Das Haus der Anarchie”), numerous drawings and two interviews with Annett Gröschner (“Psychonautikon des eigentlichen Prenzlauer Bergs”, “Psychonautikon der angeschlossenen Siedlungsabgründe”) draw a psycho-geographic city map of recollections and fears, in which voices from various times and worlds mingle and intersect. Rebellious resistance in words and images, “poetry to carve in stone, linguistic music that rocks” (Ralf Stiftel).