(Why east? How east? Why East? We have been encountering East German spaces of experience for years in literature, film and music, and there is no end in sight. Are there the first signs of fatigue? Not with us. Because we continue to spin the wheel of "the East" and ask: What is it actually about? Or is it? Or is it not?)
What role does the Ossi thing play in experiences, imprints, in biographies, in their complexities and differences? What role does it play as a sales strategy? And what stories do we actually want to tell? Anna Lux and Jonas Brückner, authors of "Neon/Grau", talk to the writer Paula Fürstenberg and the artist Tucké Royale about East German experiential spaces as a narrative strategy and what companies and readers/viewers/hearers make of them.
Anna Lux is a historian in Leipzig and Freiburg/Br. She specializes in university and academic history, the GDR and transformation, and popular historical culture. In recent years, she has been working on the project "Das umstrittene Erbe von 1989" (The Controversial Legacy of 1989), which also included the publication of the book "Neon/Grau" (2025, Verbrecher Verlag).
Paula Fürstenberg writes, teaches, organizes, publishes and curates from Berlin. A language of entanglements (not only, but also GDR/East German) is an important theme in her work. Her second novel "Weltalltage" (2024) was recently published. In November, she can be seen as part of the literary girl band "No Scribes".
Jonas Brückner is a cultural scientist in the fields of gender history, popular and memory cultures and co-author of "Neon/Grau". He lives in Leipzig and is currently finalizing a dissertation on masculinities in the late GDR.
TUCKÉ ROYALE (1984 Quedlinburg, German Democratic Republic) works as an author, director, dramaturge, actor and musician for feature and documentary films, in the theater and in radio plays.
Royale is a member of the European Film Academy, the Kooperative für Text & Regie and co-initiator of the #actout campaign. His debut "Neubau. Ein Heimatfilm" was awarded the Max Ophüls Prize, the Prize for Socially Relevant Film, the German Film Critics' Prize and the Braunschweig Film Prize, among others. His radio plays have been awarded Radio Play of the Month and the Jacques Matthey Doret Award. He currently teaches as a visiting professor for creative writing in the screenplay department at the University of Television and Film in Munich.