8 -19











2020 IS HERE


ISSUE #24:



Muriel Fonseca








opening announcement




An interview with Jaime

Serra Palou.



virtual edition


Mayuko Fujino




an interview with Rafael

Franco Steeves




Editor in Chief,

Designer and Art Director:




RELU CAZACU ranslated


Romania... pg. 32



US / Colombia... pg. 32


Cuba... pg. 33


Cuba... pg. 33


Cuba / 34


US.... pg. 34


India... pg. 35



Albania.... pg. 36


India... pg. 37




Red Door Magazine releases digital issues quarterly with

an emphasis on visual art and poetry. It also includes multimedia

art, essays on adventures and activism, as well as

relevant media articles. The magazine always features a

poetry selection, prose, and occasional interviews by established

and emerging artists. We’re here to give you a

handful of essential pieces you can digest in one sitting.

We’re currently seeking visual art, music and film reviews,

travel and media articles, essays, poetry, fiction, and creative

nonfiction. Simultaneous submissions are always ok,

and if you have a piece accepted elsewhere, please let us

know by adding a note to your submission.

Please send your content to


File specifications: Your article may be a maximum of two

pages, and we accept a maximum of 5 poems per submission.

Please include a small biography of up to 10 lines about

you. All this must be included as .doc files.

All images must be attached as .jpeg images in a resolution

of 1080 x 1080 px or its equivalent in format so it can be

used for print and hi-res for web.

ISSUE #25:



NOVEMBER 13, 2020





All new subscribers on Patreon of SUP-

PORTER level and up will receive a free

inauguration T-shirt with this design, so

sign up now, and be an active part of this

cultural revolution!


THE FALL arrives and

by that I mean Autumn,

and with it the 24th issue

of Red Door Magazine,

with the theme “visualize”,

although somehow

lately feels more like

someone should rub

some alcohol on our

third eye to help us get

some clarity.

What a year!

Wherever you are, I

hope this issue of Red

Door finds you in good

health, surrounded by

creativity and optimism,

if not at least by patience

and strength to cope

with the year of pandemic,

corruption and

climate chaos. In spite

of such strange times,

we must continue. More

than ever, together we

visualize and build our


It is my firm belief that it

is precisely in these times

when we most need to

dedicatedly and fervently

work on our projects,

the documentation of

such projects and those

of our communities, and

the strengthening of the

networks we’ve been

threading, which always

leads to new collaborations,

new opportunities,

and new channels of

open platforms and access

to information even

when everything else

around us seems to be

against such basic practices

of truth, honesty

and freedom.

For this reason, Red

Door continues its collaborations

and search

for stories and projects to

document, both as a virtual

quarterly magazine

as well as a printed magazine

thanks to our collaboration

with Kultivera

in Tranås, distributed at

their location in Sweden,

as well as via mail to all

who order a copy... and

now also on our new location

here in Copenhagen,


Which brings me to the

point I’ve been wanting

to share with you so eagerly.

After a long search

of almost two years since

our old location was

forced to close due to humidity

issues, Red Door

has finally found a home,

in a street called Møllegade,

located in Nørrebro,

a very vibrant area

of the city. The location,

for the past 9 years, was

home to my publishers in

Denmark, Det Poetiske

Bureaus Forlag, so it already

comes with good

vibrations... and there

are bookshops, galleries,

a Litteraturhus & Poesihus,

as well as frequent

cultural events and even

a poetry festival on that

street, so it couldn’t be in

better company. Opening

date is mid October,

but it will be a series of

opening events due to

the current restrictions.

I look forward to having

you visit, hosting

podcasts, workshops,

film-screenings and exhibitions,

and continuing

to provide an independent

platform for arts,

communication and culture

for our communities.

See you there!

-Madam Neverstop.

Opening a gallery in the middle

of a pandemic might not

look like a sound business plan,

but now more than ever, these

independent spaces are necessary

to continue providing

access to information, culture

and entertainment to our communities.

If you would like to give your

support to RED DOOR GAL-




THEQUE, sign up as a supporter

on Patreon.

Subscribing is easy. Pick a tier

based on which level of support

you’d like to give and the

benefits you’d like to receive.

These include receiving

physical copies of this magazine,

art, prints, exclusive early

access and more.



All new subscribers on Patreon

of $6usd and up will receive

an inauguration T-shirt

with the design on the left, so

sign up now, and be an active

part of this cultural revolution!




INTERVIEW and translation from Spanish by Elizabeth Torres.

All graphics provided by Jaime Serra Palou.






Jaime, throughout

years you’ve developed

an extensive

career which unfolds

between the

frontiers of Journalism

and Fine Arts,

through the use of

data as prime matter

and infographics

as your main media

for creation. Tell us

what led you to develop

your activities

in this field, which

benefits and factors

most interested you,

and what is it that

most impassions you

about creating infographics:

I use infographics

because it’s what I

found along the way,

many years ago. At

a certain point at the

end of the 80s, I arrived

to the beginning

of what would

become journalistic


Throughout a decade

I felt true passion

for journalism

and the possibility of

participating in the

construction of parameters

for a new

form of narration,

which at the time

was in its dawn: infographics.


my trye interest was

always centered in artistic

practices, (let’s

call it that, although

it can also be called

poetics), which I

tried to add to this

sudden interest: the

construction of journalistic


I achieved this, with

certain luck, through

the years when I directed

the infographics

department of the

argentine newspaper

El Clarín. Once

this path was exhausted,

my interest

in poetics continued

to grow and found

itself in conflict with

my journalistic practices,

so I found no

other option than to

let it overflow (it’s important

to note that

journalism here was

speedily fading).

I believe that

what we do with

our life is more

important than

what we do in life.

(seeing it this way

means taking all

the responsibility

possible – which I

don’t know if it’s

much anyway – of

our own destiny).

I could have looked

for other ways to enter

in-depth into the

poetic practices, but

life had offered me

infographics and I

thought it economically

unviable not to

take advantage of it.

It is true, a priori, it

would seem the least

appropriate tool for

building a personal

world, of subjectivities,

but it also meant

a challenge, something

which I always

find stimulating.


What really excites me is solving

problems, which has been

my main method of learning.

First, I had to sort that cultural

misunderstanding that with

infographics only the objective

world can be narrated, and

then I discovered, that not only

is it possible but it gave me a

singularity: It wasn’t – It isn’t –

very common to approach the

intimate world with infographic

shapes. This singularity is not

something unappealing to me,

as isn’t the other aspect that infographics

provided me with:


As a method for work and exhibition

of it – while I investigated

the possibilities of infographics

as a tool for narration at the

service of the subject – I acted

with a strategy similar to the decision

of maintaining infographics

as a tool: Taking advantage

of what has been learned and

the space reached. In this case,

my status as a journalist with

a relevant position in a named

newspaper “La Vanguardia” in

Barcelona. Journalism allowed

me the possibility of promoting

my new interest through the

spaces reserved for opinion.

With the format of the Sunday

column I transited throughout

7 years a path between journalism

and the arts. Once again, I

reached a certain point where

more spaces became available

in the art world and the journalistic

work began to clash. I opted

with leaving journalism and

focusing in the arts, although,

paradoxically, by doing so I expanded

my reach of collaboration

with numerous media in

Europe and Latin America who

valued a new method for journalistic


I am not certain that my career

is very productive. In terms

of production I’d have to say

it isn’t, and this is deliberate.

I believe that repeating yourself

(apart from being boring)

doesn’t add a great anything to

oneself or to others. I believe it’s

better to do something and actively

await, generating a space

for it to have the opportunity of

becoming singular. Which does

not warrant success, but, in this

way yes, my career is quite productive.

-Your career is mainly selftaught,

something which

probably brought you the flexibility

of forging your own vision

and style, but which also

requires more discipline, other

forms of publicity to promote

your work and network in your

field. Tell us about this process

and recommendations for selftaught


Yes, I am completely selftaught.

As a matter of fact, I

never finished primary school.

During a time, the lack of academic

education felt like an

huge lack. But, looking at it from

a different perspective, it is very

probable that this worked for

the best. Education is always, in

a focalized way, limiting. I guess

it cannot be any other way. So,

one must use time, afterwards,

to revise and deconstruct what

one learned.

I am not at all a disciplined

person. I do not have that they

call willpower. On the contrary,

I easily submerge myself in chaos.

But I am a passionate person,

desire is the engine that

makes me get up and search

each day, wishing to find. However,

through the years I have

reached a certain level of routine

which I can maintain, and which

turned out to be healthy. I do not

wait for the wish to appear: Each

morning I wake up and head to

my favorite place to work as an

employee would. I have adopted

the title Nick Cave gave to his

creative space: The Office. I find

it healthy to look at it that way. I

am also not an incredibly social

person, and the nature of my

professional field helps.

I believe the only thing I can

say about this is I believe in desire,

in intuition, in work, in ruthless

self-critique, in that which is


Anatomical representation

of a series of people

according to the


of each part

of their bodies.


nuclear above forms, and

the risk of exposure. With all of

this (which isn’t meager) a selftaught

person only needs time

to find reward. I do not know if

in the eyes of others, but in their

own eyes.

-In these times of instant

news and a mainly digital

world, how has the creation

of infographics changed, according

to your own experience?

Radically. Not precisely for

good, when it comes to journalism.

In any case, it is not the motive

for me to have abandoned

journalism. I am not interested

in the narration of the exterior

world. I find it what the media

shares as alien to me, I simply

don’t get it, I don’t understand

what it is they speak of. I believe

the media are aiming for

the wrong angle (I do not like

to accuse without proposing a

solution but for the explanation

of the nefarious handling we

would need a whole other interview),

but I am also not a positive

person with the reality they

must address.

Urgently, I do not find it as a

convenient use of time. There

are few urgent things. We lack

analysis, depth, perspective,

reflection, which is to say, all

which is opposite of urgency.

What’s digital is artificial. In a

first stance, we could think it

facilitates some aspects of our

lives, but evidently, it dehumanizes

it, which has led to a much

lonelier, harsher, and by default

more difficult life.

I do not find poetics in the digital

world; a life without poetry,

it’s not that it’s not worth living

(Like Pablo Corral Vega says I

once said) but, directly, it just

isn’t life.

But there’s always a reaction

to an action, so it is very possible

that all of this, also becomes the

reason to a new way of using

infographics and the data from

a more human view, without urgency,

which slowly but surely

recruits adepts. Cases such as

“Dear data” by

Estefanie Posavek and Girogia

Luppi, the graphics of naive appearance

by Mona Chalabi, the

yearbooks of Nicholas Felton,

or my own work, all of this has a

point of reaction in common.

-The role of infographics has

also mutated through time.

What are the characteristics of

these changes that you have

noticed? Are they equally relevant?

And what about the access

to information?

With the arrival of the internet

we embarked on a very interesting

path which seemed to bring

huge amounts of information to

any citizen. And in a way, this

has happened. But disinformation

has grown with equal intensity

in the past years. In the

end, we have no idea what is information

and what is misinformation.

The intoxication is deep

and evident.

With the arrival of digital platforms

infographics gained

access to animation and interaction,

something which has

always been absolutely trivial.

The phenomenon of Big Data

is the easiest to highlight, not

just in infographic terms. For the

first time we had access of great

amounts of information collected

in an absolutely objective

way: directly through our mobile

devices, without the distortion

of human intervention. This dehumanization

could bring to the

stage the judgement of subject,

but without doubt possessed

the potential of collaborating

in the construction of a better

world in certain, very specific

areas, such as health or knowledge

or the general awareness

of our freedoms.

ISSUE #24 - VISUALIZE - FALL 2020 11

“I do not find poetics in the digital world.

A life without poetry, it’s not that it’s not

worth living...but, directly, it just isn’t life.”


A calendar for quantifying the amount of coffee consumed by the artist during 2013,

through the traces of coffee left by the coffeecups on sheets of paper.

Something which apparently, we didn’t keep in

mind was very ingenuous: the dehumanized method

of collection is controlled by humans, private enterprises,

government agencies, all which defined

economic and party interests.

Journalism becomes disconnected from its traditional

role of social mediator. Therefore, Big Data

goes from being a valuable tool of objective information

to adding to the pile of disinformation.

But in all of this, infographics has nothing to say.

It is a tool of communication, a transmitter of a message,

from messenger to recipient, and more importantly,

it is always the message. Some inform, others

disinform, both with the same severity. It isn’t different

than what happens with words, or with imagery

put at the service of narrating the world around us.

As to their relevance, it isn’t specifically interesting

to the population. We have platforms focused

on photography (Instagram) and video (Youtube),

and audio (Spotify) and words (Twitter). We create

the content ourselves and choose the channel of

promotion. Infographics are irrelevant, apart from

the professionals of it, who continue being the only

ones who can make them, and paradoxically, which

makes this so irrelevant. I know this sounds pessimistic,

but trust me, I am desperately optimistic.

-Talk to us about your creative process. By steps,

how is an infographic by Jaime Serra Palou created?

How do visual arts, journalism and aesthetic become

interlaced in the process?

In reality the creative processes tend to be something

lamentable. Something like the process of

making wine, but of human nature: One must pick

up, step on, get stained, ferment, move towards decomposition

and overall, wait. Wait a lot. Let powder

accumulate. Finally, with luck, we will obtain something

satisfactory, or something that sours in the process.

-Talk to us about your creative process. By steps,

how is an infographic by Jaime Serra Palou created?

How do visual arts, journalism and aesthetic

become interlaced in the process?

In reality the creative processes tend to be something

lamentable. Something like the process of

making wine, but of human nature: One must pick

up, step on, get stained, ferment, move towards decomposition

and overall, wait. Wait a lot. Let powder

accumulate. Finally, with luck, we will obtain something

satisfactory, or something that sours in the process.

I have the feeling that a great part of the time my

work consists not in acting, but being present, expecting.

Times are really important. Knowing when

to stop to check if the work is finishing itself. Something

which occurs often, and which would have

been ruined if we didn’t stop to look. But the limits

chosen by me, which in great way influence my creative

process, are obvious.

-I use infographics.

-I use a certain luck with data.

-I do not embark on generics. I speak of specific

persons, who do concrete things, in concrete moments.

Habitually it has to do with myself and those

around me.

-By coherence with the previous point, I try to create

unique pieces.

-I treat subjects intrinsically human, or culturally

rooted, something we sometimes confuse.

Thanks to these parameters I can create. It isn’t

possible to work free of limits.


-I am very interested in hearing

about your influences, because

when I took your Domestika

course, I was surprised you

didn’t simply mention those in

your field, but also great influences

in journalism, film and

poetry, such as Whitman, Nick

Cave, Jim Jarmusch, Bill Murray,

and of course, Burroughs.

Tell me how these have marked

your artistic career:

I distinguish between references

and influences. For an attentive,

sensible person, almost everything

can be an influence, in

the sense that it influences their

perception of reality, or better yet,

it collaborates in its construction.

This is valid for people, objects,

scents and music. Anything that

could result in an influence after

being processed, and in a more or

less evident way, will appear, later

on, in their work.

To my understanding it is very

enriching to have the maximum

access to influences. As I believe

we are, essentially, cultural subjects,

the higher the number of

influences, the richer our personality.

Influences that are contradictory

or distant must find a pact

to cohabitate, and this is where

something different can surge,

something unique, that is to say,

something new. To be grossly illustrative

in a professional aspect:

If our only influence is Picasso, we

will only paint fake Picassos.

When it comes to references, it’s

a different subject. Our referents

have deeper draught, they get

installed in our personality and

help arrange our influences. Here,

it could be psychotic to have too

many of them. Just like parents,

it’s not that convenient to have so

many. In my case, my references

are mainly two: Marcel Duchamp

and William S. Burroughs. (I know

not which is the mother and

which the father). In spite of their

obvious differences, they make

cohabitation very easy: They add

the accent on all of which they

share in common.

Why are my references important?

In reality, I think in a semi-conscious

way, they are, for all of us.

I think that for the majority of

people, referents do not belong

to the world of fiction, they are the

parents, the relatives, the school

teachers. Obviously, of my referents

I only know the characters,

not the people. This is probably

due to the lack – if not full absence

– of real referents in my

life. It seems to me we cannot live

without referents, due to, in one

way or another, all of life having

to do with limits and aspirations.

If one doesn’t have referents, one

must build them.

-Your work can also be found

in museums and private collections

in various countries. Do

you have plans for upcoming exhibitions,

books or other types

of publications and projects:

Right now my work can be seen

at the Museum of Decorative Arts

(Kunstgewerbemuseum) in Germany,

until the beginning of November,

as part of the Common-

Knowledge curatorial proposal

started in Ljubljana. Recently another

exhibition I was a part of,

“Human, Beyond Data” organized

by the SND-E in Pamplona closed.

The current issue with Covid frustrated

other exhibition plans and

the upcoming future.

However I am working on an

ambitious exhibition for next

year in Etopía, Zaragoza, Spain,

where my most material work will

go hand in hand with the latest

technologies, in a frame of the

immersive, almost theatrical. I

am also developing other forms

of my work that I am passionate

about, such as theater, with a play

starting next month in the Teatro

Romea, in Barcelona, a combination

of spoken work, my art, and


There’s always something to

learn, something to grow with.

Visualization of 50 handfuls of confetti

thrown by 50 people on the artist’s

50th birthday. The colors represent:

Blue =health, Green=wealth and


as categorized wishes from his friends.

ISSUE #24 - VISUALIZE - FALL 2020 13


Distribution of time within a month

(January, 2014) based on three criteria:

useful, useless, and sleep (from exterior to interior).


ISSUE #24 - VISUALIZE - FALL 2020 15


Artist and journalist Jaime Serra Palou originates

from Mollerussa, 1964. He has an extensive

career of over 25 years expanding the limits

of journalistic infographics, being recognized

in 2012 by the Society for News Design as the

most influential infographist in the world.

Additionally he has consulted for media such

as The Independent (UK), Corrierre della Sera

y Gazzeta dello Sport (Italia) Clarín (Argentina)

and Diario Noticias (Portugal) among others.

Special thanks to Jaime Serra Palou for this interview.

Learn more of Jaime Serra Palou on his blog:


This is a hybrid edition, with most events taking place ONLINE!

For eight days in October, practitioners from Sweden and other countries working with different

disciplines (visual art, literature, dance and film) will meet online and conduct around 70

events. The festival is usually held once-a-year in Tranås, Sweden and it is now at its seventh edition!

This year the festival collaborates with Tranås municipality’s annual culture and rainbow week.

Red Door Magazine is also a collaborator of the festival, and Red Transmissions podcast will be on site interviewing

the festival’s participants. Invite all your friends!

Long distance collaboration, experimental

reading groups, and

generating instagram pathways;

an experimental art lab seeking to

challenge our default approaches

to digital working.

Starting in May 2020, Plugged in

responded to the postponement

of our pre-pandemic plans and the

necessary shift in our approach

to work. Before this, travel was a

routine element in our collaborative

and individual practice(s). It

was essential for the patchwork

of short-term projects, workshops

and residencies that enable artists

to make a living.

Critical of the sustainability of

this nomadism, we were geared

up for a practical investigation of

mobile working, in what would

have been the first iteration of

our practice based research

project, Restless Practice. Subtitled,

Artist as Map Maker, it

would have taken the form of

a mobile residency, with an

experimental structure of travel,

workshops, public sharings

and exchange. We planned to

bring four international artists

together to create new work

in response to the creative,

social and physical ecology of

Småland; where travel would

also act as a context to influence

process. Having developed

the project with Kultivera,

Tranas since 2018, putting our

research on an indefinite hiatus

would have been disheartening.

However, the basis of Site Sit

is to investigate the possibilities

and limitations of site responsive

practice; this combined with the

consistent instability of freelance

work, means that our ability to

adapt has become a fundamental

requirement. Shifting our focus

was both a natural, and crucial

next step.

At its core, Restless Practice, is

an ongoing interrogation of the

Restless Practice: Plugged in

By Site Sit (aka Sophie Lauren)*

ecology surrounding productivity

within artistic practice, where restlessness

is characterised as both a

productive and exhausting part of

making. Whether this comes from

generating ideas, starting projects,

being in different environments,

or meeting people/making

new connections. These experiences

simultaneously invigorate

work, providing inspiration and

opportunities, whilst also leading

to exhaustion and burn outs.

As movement was replaced

with stillness, these conversations

turned to focus on the challenges,

opportunities, and infrastructure

that are/aren’t available to us, considering:

how the tools we have

access to in our homes aid or hinder

creative practice; how we can

sustain our disparate networks;

how slowing down could become

a habit, rather than an emergency

break; and what happens when

travel is not the solution to our


In its simplest form, Plugged in

is an intensive research lab delivered

through digital platforms, it

brought Site Sit together with four

international, cross disciplinary

artists (Sam Carvosso, UK; Fuji

Hoffman, Sweden; Teddy Hunter,

UK; and Marianne Vieulès, France)

to reflect on their creative processes

and develop new work. Taking

place over three consecutive

weekends from 20 May - 5 July,

the programme explored digital

tools, long-distance collaborations

and relationships between

physical/digital mobility through

experimental activities such as:

chat room free writing; video call

presentations and crits; an Instagram

live reading relay; real time

group note mapping on padlet.

com; re-publishing text and image

on google maps, youtube,

and IG stories; call and response

walk exchanges; digital collage;

collaborative video and sound editing;

and multi textured reading

groups, spanning across video

calls, google docs and twine.

Winding through the affordances

of these platforms, we took inspiration

from selected texts and

each other’s perspectives to

create an ambitiously dense

and sprawling examination of

art making, through art making.

With the ultimate goal of producing

a tool kit that outlines a

series of strategies for long distance

collaboration and methods

for sustaining practice from

the home, each activity was

created to simultaneously aid

this development, to inspire the

artists in their wider practice, as

well as acting as an articulation

of our (Site Sit’s) shared practice.

One prominent method used

throughout was text(s) as a starting

point. Re-articulating academic

writing/ theory into activities

meant that artist-researchers underwent

a practical investigation

of the ideas and themes; putting

theory into action. This also

grounded discussion, setting the

scene while creating a focal point

to bind the group.

Our use of Pedestrian Provocation,

by Morag Rose and Blake

Morris, is a good example of this.

Taking the form of a series of

emails/ digital walk exchanges,

sent back and forth, it contemplates

the various roles artists

occupy, ideas surrounding care

and infrastructure, as well as the

‘generative potential’ of walking;

seeing it as a tool for questioning

access, togetherness, power

structures and the imagination.

We were inspired by their use of

email as a space for both provocation,

action and documentation,

how this demonstrated their

relationship between online and

offline experiences, and how it enabled

meaningful long distance


It was a

perfect starting


and inspired

us to develop

a collaborative


that became

the focus of

a session.

We created

and shared

this as a simple


for anyone to

try out. The

steps are:

find someone


to collaborate

with; go

on simultaneous,



walks; return

home and

recount the walk (4 minute only!)

via video call; and finally, create

a souvenir/ interpretation/ documentation

(in any form!) of each

other’s walk.

This acted as a soft collaboration,

with making happening independently,

but with someone

else in mind. The souvenirs created

were surprising and multifaceted,

including a twine story,

cassette tape, photo snaps, clay

sculpture, drawings, and moving

image. Being immersed in the text

throughout the day, set the tone

for making and sharing; bringing

us together conceptually despite

our distant physicality.

Texts also acted as the starting

point for Reading Group Rethinking,

a series of sessions that were

configured around our partner

organisations and three texts;

selected by ourselves, Kultivera,

and g39 Warp (Cardiff, UK). Here,

texts/theory acted more like a

backdrop, as creating a multi-textured

experience was the priority.

Conscious of fatigue caused

by prolonged video call engagement,

we moved across different

spaces/infrastructure, from laptops

to phones, between public

and private, text and image,

working collaboratively and independently.

Starting with the minimum

requirement of any reading

group, we shared the texts as

PDFs via email to read in preparation,

before activating each one

through a performative live reading

relay that moved across three

instagram accounts; @site_sit, @

g39warp, and @kultivera_tranas.

This gave the artists, as well as

a wider public, the experience of,

Jan Verwoert’s Just in Time, an

extract from Exhaustion and Exuberance;

An amotivational speech

by Manuel Arturo Abreu; and the

poem Torpön Island by Anthony

Jones; delivered by the voices of

the people who selected them. By

moving to, and across, this social

space, it also gave the artist-researchers

the option to change

their physical location,

get comfortable, and

relax into the more voyeuristic

position of watching

the live stream. Moving

to the screen size and

orientation of a phone

contributed to a change

in atmosphere, shifting

our focus to one person

at a time, rather than the

multiple voices present in

a video call.

We then re-joined the

video call, disabLed most

features and turned to

our keyboards to explore

the texts through a guided

Google Doc exercise.

With just one mic on, and

all cameras off, we were

methodically directed

through a series of questions

that were answered

in allocated boxes, building

on and blurring each

other’s contributions to

form and evolving anonymous

discussion. Directions

included; ‘Write one word in response

to each text’, ‘Find a quote

in one of the texts that links to this

image’, ‘Do these texts inspire you

to take action in any way?’, and

more simply ‘add a GIF’. The final

question invited us to comment

on and edit each other’s words.

Only after we had concluded the

reading group did we turn our

camera’s back on to discuss this



This multi-textural approach is

characteristic of Plugged in, and is

a strategy that enabled us to have

a series of two consecutive days

of online activities. This approach

can go too far the other way, depending

on factors like the number

of people in a video call, how

established the group is, and how

much time you have. We pushed

this beyond its limit in the public

event Cool Down, which aimed to

be both a dissection and extension

of the Google Doc session,

Plugged in, and Restless Practice,

will continue to evolve and

mutate, with ideas shifting in relevance,

to irrelevance and back

again, as we remain in process,

learn, read, reflect and do.

present alternatives to video call

spaces, whilst sharing the wider

activity of Plugged in. By being too

ambitious, participants only had

limited time in the twine and Google

Doc spaces before returning to

the video call, where conversation

was difficult to make personable

because of the large numbers. On

a positive note being part of a wider

group strengthened the bond

of the artist-researchers and led

to the realisation that you should

never have more than six people

in a video call!

*Site Sit is the shared artistic activities

of Lauren Heckler and Sophie

Lindsey. Together they develop

research, create artworks,

deliver workshops and produce

projects that examine site responsive

practice. They are currently

based in Abergavenny, a market

town in Monmouthshire, Wales.

Read more about their project

here: or follow

them on Instagram @site_sit.

Plugged in was funded by Arts

Council Wales, through the Stabilisation

Fund for Organisations.

ISSUE #24 - VISUALIZE - FALL 2020 21


By Madam Neverstop

Mayuko Fujino’s art is as perplexing

as it is beautiful, like staring

into a codex of contemporary


I have followed her work and

progress through the years ever

since we met in New York at an

event where we were both part

of a collective exhibition. When

I asked her to be the featured

artist of this issue of Red Door she

clarified that she remembered me

and also followed my tracks and

those of the magazine. Although

we didn’t develop a relationship

then, our work spoke for ourselves

and kept us in each other’s periphery.

Therein lies the magic of

art: it threads its own story, and

touches fibers left and right without

the needs of additional introduction.

Time has passed. Mayuko

has settled in New York and I

in Copenhagen. I was attracted

to her work once again

after she started sharing images

of her series “Thank You,

Have a Nice Day”, made of

plastic bags, paper, graphite

and handmade indigo dyed

paper primarily made of recycled

cotton rags, all of these

materials found in the streets

of New York. According to her

social media, the collection of

material for the series, as you

might have imagined, had to

be postponed due to the current

pandemic, but the creating

aspect continued.

The series is inspired by the

Japanese tradition of funeral

rites for objects that is founded

on the belief that objects

have souls just like humans,

plants and animals. In her artwork,

Fujino portrays these


I believe successful art is autonomous

and I try to let my intuitions speak as much

as possible, since they often have more

depth than what I can conceptualize.

littered plastic bags to be wandering

souls forever trapped in our

environment, until an action is taken

to release them.

The piece which is the featured

cover art of this issue of Red Door

magazine was showcased in an

exhibition titled Isolation: Art

during the Pandemic at Emerge

Gallery in NY.

Using the plastic bags and

Washi paper as media, Fujino creates

fantastical narratives of integration

of the human and the natural.

The narratives are visualized

as apparitions merging with birds

and plants, while at other times

becoming conjoined to their own

inner monsters.

Through this series, Fujino

hopes to contribute to discussions

regarding the coexistence

of humanity and nature.

I interviewed her to learn more

about her artistic practice, the current

environment and how this

modifies her creativity, and her

upcoming projects.


Tell us about your creative

process. How do you prepare a

piece, or a series. Do you visualize

and plan, or does it manifest

organically as you create?

Sometimes an image unexpectedly

starts to linger in my mind:

an anteater in a zoo, the stomping

feet of a rabbit, a flying trapeze,

a littered plastic bag on the

street, mirroring trees on the water

surface, etc. I create a series to

decode this lingering image so

that I understand what it is trying

to tell me. I believe successful art

is autonomous and I try to let my

intuitions speak as much as possible,

since they often have more

depth than what I can conceptualize.

So even though I do have a

specific vision of what the series

should look like from the start, its

Mayuko Fujino is a self-taught

papercut artist from Tokyo currently

based in Hudson Valley,

New York.

Inspired by Japanese traditional

stencil textile designs,

she has been practicing her

art since 1999 and takes a new

approach to paper cutout technique

by combining it with

used magazine collage and

other materials.

Her work has been exhibited

internationally at locations

such as Old Jaffa Museum (Tel

Aviv, Israel), Fuller Craft Museum

(Brockton, MA), Pelham

Art Center (Pelham, NY, USA),

Ministry of Foreign Affairs of

Denmark (Copenhagen, Denmark),

SOFA Art Fair (New York,

NY, USA), and UAMO Art Festival

(Munich, Germany) and featured

in a book of the world’s

top papercraft illustrators by

noted paper artist Owen Gildersleeve,

Paper Cut: An Exploration

Into the Contemporary

World of Papercraft Art and Illustration.

She has worked on art commissioned

by clients including

New York City’s Department

of Transportation, NYC Parks,

Nokia, Panasonic, Condé Nast,

and the Atlantic Magazine.

She hosts a freeform music

program Play Vertigo at WFMU

Drummer Stream, a community

radio station in Jersey City, NJ.

This issue of Red Door Magazine

features work from two

of her series: “Indweller” and

“Thank You, Have a Nice Day”.

Learn more about Mayuko and

see more of her work at:

ISSUE #24 - VISUALIZE - FALL 2020 23

actual development often goes

out of the path I imagine, as it involves

some wandering in the

labyrinth which the initial image

holds for me.

Let’s talk about the various

techniques that you use for the

intricate works that

you create. How did

you develop these

techniques, who

has influenced you,

where have you

learned them, what

has helped you


When I was a teenager,

I happened to

watch a video in a

museum which introduced

Keisuke Serizawa’s

working process.

He was a textile

designer known for

his Katazome work, a

Japanese traditional

stencil dyeing method

in which handmade

paper is used

to create the stencils.

I was fascinated by

the cutting process

because it looked so

fun, and somehow,

I was sure that I could do it too.

So, I taught myself how. I think

spending a lot of time doing it has

helped me grow.

Are there any setbacks in your

current practices due to the

lockdown, and if so, how are you

adjusting your creative process

to the “new-normal”?

There were some practical challenges

during the lockdown, such

as losing access to my work studio

and losing an opportunity for

a solo show, but I wouldn’t call

them setbacks. If anything, this

“new-normal” has given me more

clarity for my art practice. At times

of crisis, all transactional business

relationships vanish quickly, and

personal connections with people

you actually know and care about

are what remain and thrive. Before

the pandemic, I had already felt

that many art shows in Brooklyn

(where I used to live and work)

were not set up to effectively create

a place for meaningful conversations.

I think now is a great

chance for all of us to come up

with new/unconventional settings

for artists to engage in more personal

communications through


Gatherings needing to be smallscale

only helps to create a space

where everyone can hear and be

heard. So, to find ways to present

work with that purpose in mind

is the adjustment I am trying to

make as an artist, and I think it is


Are there any upcoming projects

you are working on? Any

you would like to promote?

My friend Brian Leo (,

a prolific artist himself,

started an art space in his basement

in Chelsea, New York, called

Brian Leo Projects. It provides online

and private viewings by appointment.

I’ve always loved DIY approaches

- DIY spaces, record labels,

zines and stuff - they help artists

take back control over our creation

from gatekeepers.

I am

having a solo

show in his space

in early November.

It’s wonderful

to work with

someone like

Brian who I am

personally connected

with and

with whom I can

discuss the intention

and direction

of the show

in depth, which

wasn’t the case

in many business

relationships I experienced

in the

past. I am excited

by how my new

series are coming

together for

this show. Check

out the space’s

instagram page


for updates.

Any message for fellow creators

reading this interview?

We are all trained to apply introspection

through our art practices,

to deal with uncertainty and

unusual problems, and to respond

with creativity. This is a toolset we

have that could truly help not only

ourselves but also others to cope

with the difficult time we are in.

I feel so much joy to be an artist

and I hope you do too. I feel excited

to talk with my artist friends

about what we can do. We will

come out of crisis with a deeper

understanding of life and insights,

and I am looking forward to the art

we will create.


ISSUE #24 - VISUALIZE - FALL 2020 25


ISSUE #24 - VISUALIZE - FALL 2020 27


ISSUE #24 - VISUALIZE - FALL 2020 29




By Madam Neverstop


On episode #19 of the Red Transmissions Podcast

I connected virtually to Chicago with a character

whom I’ve had the pleasure of knowing from my

days in New York, sharing music, bohemia and of

course, poetry together.

Writer, journalist, pathological tourist and actor

Rafael Franco Steeves opened up about his leading

role in “Adjunto” the short film directed by Felix

Pineiro that navigates us through the struggles of

addiction, inner fears, life in a distant city and the

very real difficulties Puerto Ricans have faced ever

since Hurricane Maria hit, and the tragedies that

followed, including an incompetent president... all

these subjects hit very close to home when Rafael

shares his story, and how he has become the brave

and prolific creator he is today.

Rafael was recently awarded Best Actor for his

leading role in Adjunto at the Rincon International

Film Festival @rinconfilmfest and the film won Best

Short in the same festival.

When describing himself at the beginning of the

podcast, Rafael opens up about his past and his status

as what he calls a “pathological tourist” as well

as a recovering addict. He recognizes these two

things as having defined his personality. Rafael explains

that during his 20s and 30s he spent a lot of

his time doing active drug use, which imprinted



on all his life endeavours and

choices, from Colorado through

Puerto Rico and New York, in spite

of trying to escape it geographically.

“It goes on until you realize you

can’t escape it, and finally have to

face it”...and now he’s been clean

for 12 years.

Rafael was interested in visual

arts as a child, but has a background

in writing and journalism,

as well as Anthropology from the

University of Puerto Rico. He also

picked up photography along

the way to complement his writing.

Additionally, to not fall back

on old habits, he decided to take

up acting, screenwriting and theater...

and the performative arts.

“When I went into it, I had a

low view of actors, I thought it

was an easy job, but I wanted to

know what they went through

because I wanted to write for

them... when I got into acting I

realized, wait a minute, this isn’t

easy at all, it requires psychological

commitment. How do you

do that? My perspective completely


Rafael mentions Italo Calvino’s

Invisible Cities as one of his childhood

influences, the novelist Richard

Braudigan as well as Borges’

Ficciones, which definitely planted

the seed of writing. “I always

gravitated towards the fantastical

and surreal fictions.”

When talking about his role in

Adjunto, he explains that there

was no better preparation than

real-life experience and muscle

memory. “When an addict is depressed

they resort to drugs to

find solace, but most people are

not aware that the higher probability

relapse is actually celebratory,

when good news arrive. It’s

an incredibly strong trigger... So

that’s what we wanted to illustrate

with this short film”.

The dynamic with Felix, director

of the film, can be seen from

watching the film. Rafael explains:

You can tell what he wants from

the film, visually and from the actors.

He always allowed wiggle

room in your performance but was

specific on the notes he wanted

to hit, and that’s the mark of

a great director (and editor).

The film is being acknowledged

in various media and

getting some traction. It was

selected to the Seattle Latino

Festival. This is actually the

first collaboration between Felix

and Rafael in a series called

“Otra Vida” (Another Life), the

name of a clandestine detox

group, its cinematic universe

taking place in Chicago where

Spanish-speaking immigrants

who cannot get help through

official channels resort to helping

one another illegally by

building clandestine rehab

spaces, and once they get

clean they become sponsors

and house addicts for 90 days.

Learn more about ADJUNTO

and its world premiere here:

Follow Rafael’s projects:

ISSUE #24 - VISUALIZE - FALL 2020 31




To have been

the fly’s buzzing,


I’ve been sleeping in each and every passageway

untapped by you

I’ve been drinking until my life

has shrunk to vodka

and the world turned too big for me

I have written the poem all around you

lest I could touch you

when I’m too sad

a homeless man

is sharing the bread you gave him

with me

(poem translated into English

by Nicoleta Crăete)

To wait for hope,

in some languages

is redundant.

The spiral

turns inward.

Orbiting becomes


Spinning becomes

an oscillating reflection.

Sediment concentrates,

until another's touch

scatters breathing,

lights the curvature

of skin after twilight.

In a year or a day,

every flower gives itself up.

Every bell bursts.

Is there an end

to how much less

living can be?

To have inhabited

the silence

between words.

RELU CAZACU is a Romanian poet, born

on November, 29th, 1983, in Bucharest.

He published poetry in various magazines

and collective volumes. He’s been a member

of Cenaclul 9 since October, 2016. His debut

collection, “Poems of use”, was released as an

award-winning of the ”Traian T. Coșovei” National

Poetry Prize (2020 edition), offered by Tracus

Arte Publishing House, in collaboration with

the Cultural Association Direcția 9 and

Agenția de Carte (the Book Agency)


(California, 1964)

He has published poetry, fiction, and essays in

English and a book of short fiction, The Fifth

Season, won the 1995 Fiction Collective 2 Nilon

Award. A selection of poems, On the Voice, was

published in 2016. Since 1995, he has lived in

Medellin, Colombia, authoring seven books of

poetry, and three books of theater plays all in

Spanish as Mario Angel Quintero. He continues

to write and publish in both English and Spanish.

He is a visual artist and the director and playwright

of the theatre company Parpado Teatro,

as well as a founding member of several musical









What woman has not bent down

to remove a thorn

from her foot while naked or scantily clad

with veils

or bangles, in the twirls of love or dance,

or simply

when making up her eyes in front

of a low mirror.

But we are here in the tenth century and Hemavati

has been raped by a god, gives birth to a prince

amidst a forest of high date palms, vows

to build the architecture of desire.

(In the fifteenth another Lady locks her body

with a red velvet key and secretes a

mute passion

through the five orifices

from her garden in bloom.)

And so these tough females on proud islands

are like our twenty-first century gals

with their tangas and silicone tits.

(Or else they are the Lady and I, entranced

in heraldic bliss.)

As on the indigo carpet, the scene

evolves outside, the enigma is deep down,

visible only from the rear eye, in the cold-sweat

cavity of the stone- or skin-lined temple.

Abandoned to their pleasure, the libertines

gathered in those sand-swept times

somersault into the void.


Poet, essayist and translator born in Cuba,

who writes predominantly in her native Spanish.

Having spent a good part of her formative

years in New York and Paris, she translates

her own poetry into English and French.

Lives in Vienna with yearly stays in Chile.

They brought them in ships, tied like beasts.

Congos, they believed when

they died

body and soul returned together to the land

of their ancestors. This meant they

must be buried in their homeland.

Some of them threw themselves into the sea;

some came to Haiti, to the invisible bite mark,

those homeless bodies that could be revived.

Then came the boat people,

thousands dead in the Florida Strait.

— Don’t hang out with Haitians— they told

me— Don’t work with Haitians

But a Haitian

nurse cradles my father in the lopítal,

1 helps him die.

Dark point in Latin America,

it seems an earthquake wants to swallow it.

Don’t play with


Hollywood makes movies about zombies, series

about zombies,

zombies about zombies

infecting everything

while she sings to him at the lopital, helps him

die, white dress of Maman Brigitte.

But don’t hang out with Haitians, they told me,

with zombies. They brought

them in ships,

tied like beasts.


She has a Bachelor in Arts and Master in

Comparative Literature, both granted by

the Central University of Venezuela, a country

where she lived for twenty years. In this

same institution she worked as professor

for seven years, teaching courses that covered

topics as sociology of arts and literary

criticism. For more than years she has also

been devoted to the publishing work.

These poem belong to Zugunruhe, that will

be published in 2020 with translations by

Margaret Randall. Currently she lives and

works in Miami.

ISSUE #24 - VISUALIZE - FALL 2020 33







This is a poem to invent Ulysses,

to test him as always.

He knows that I sit before the sea,

that I hear the seagulls sing, and does not


Last time we loved each other

in this windowless motel on the coast.

This is a poem where I sit

on white stones that are not.

All the fish that ran aground here

lost their way back to the sea, were sedimented.

Over the skeletons of thousands of fishes

formed the white sand of waiting.

Ulysses, I am at White Stone. Deep is

the bay, before the sea, remember?

Grief has a way of breaking your molds,

letting you spill out

messy and green,

uncooked, raw.

It loosens your springs,

thrashing you about,


for a place that’s still.

It turns you fearless,

reckless, even,

pushing to places you’d never go.

Nothing to lose,

taking that chance,

till it opens you up like a pomegranate

and maybe,

somewhere in that place of seeds,

you finally rest and take root in love.

Aleisa Ribalta (HAVANA, 1971). Born in

Cuba, lives in Sweden since 1998.

Poet, translator and cultural coordinator. Educated

as a professional engineer, Aleisa works

as a teacher of several technical subjects. Has

published Talud (Ekelecuá Editions, 2018),

translated into Catalán and published as a bilingual

edition called Talús/Talud (Bokeh, 2018)

and Tablero (Verbbo (des)Nudo, Chile, 2019).

Aleisa is the director of the online magazine


Professor of Spanish Literature

Associate Professor, PhD, Brown University,

Lit. of the Golden Age.




Everytime she breaks the cinnamon sticks, or

Crushes the pods of cardamom

A smile blooms, thinking of him

As a whiff of love-scented memories intoxicate

the air...

Jaggery, and ghee melting

Rose petals softly landing upon desserts...

While peeling the oranges, his citrus-anger she


Freshly plucked turmeric, his stolen kisses...

Jasmine buds, of sweet silences

So many fragrances bursts in her heart as his


That perfume her soul...

He is remembered as a scent, a spoor of love

Wherever she turns...

Like the beautiful bottles of perfumes

Memories are collected and treasured

In the shelves of her heart...

Test strips lay untouched


Wholeness is love

And he is adored for all the notes...

Sandal incense carried the voice, of his hushed


While the sky blushed, drawing the drowsy

blue curtains...

Ah! A sudden jolt!

The doorbell!

Her dream evaporated

She lost her sense of smell for a moment

Odourless tears silently flowed

Love suffered Anosmia.


Bilingual poet, writer (English, Tamil), Madhumathi

is an ardent lover of nature, poetry, photography,

and music. She loves to spread mental

health awareness through writing, strongly

believing in the therapeutic power of words,

and takes part in related awareness activities

to break the stigma, and reiterate the importance

of empathy.

Madhumathi’s poems are published in Anthologies

of Poetry Society India, Chennai Poetry

Circle-CPC, India Poetry Circle-IPC, and Poetic

Prism. Muse India(UGC approved), International

Writer’s Journal, Science Shore, Our Poetry

Archives, Positive Vibes are some of the e-zines

her poems are published with.



One hundred and six kilos

of meat, blubber and wiry hair.

Pressure mounting; actions; reactions

as crumbling ivory grinds.

Steel tendons straining,

cracking bone, and leaking marrow.

Gravity dragging like quicksand,

its subtle force crushing,

as chemistry battles nature

to tease open canals of slick red heat.

To wrestle the grey slug,

where mind clings to a phantom of vitality.




Scarred bellows threaten collapse

with every stinging inhalation.

Wallowing in damp flannelette gasps.

Drawing a muddy memory of breath.

Fragile cartilage creaks and clicks,

as potions burn in gullet.

The lumbering creature flounders,

energy spent through years of disarray.

Focus; a fantastic beast

glimpsed through fogged and cracked glass.

Names and faces blurred to one

leave debris of bewildered distress

and a muffled clatter of voices,

heard, but lost in a thick mire

of ancient feculent compost.

Grasping for thought in its felted cell,

finding only fleeting clues

and an abstract carousel of dimly lit hopes.

And yet, it is so unspeakably tiny.

Helpless; inconsequential.

How did time lay so much weight

on such a fragile spark?

So much expectation

on such a flimsy web?

The one remaining dream:

to keep on pumping.


Richard Temple is a performing poet and student

of creative writing at Lampeter University in Wales.

He is the singer and bass player with the band Dog

Food and has worked previously in music promotion,

video and performance art, as well as song

writing and digital design. His poetry tries to grasp

the common experience of what it is to be human,

through captured streams of consciousness or

collages of visualised imagery.


ISSUE #24 - VISUALIZE - FALL 2020 35



Say, Aspen,

will you be able to cede to recovery

right after a loneliness so abysmal?

I see, your body hurts from

the fractured ice,

but no escape from loneliness comes

free of scars...

Light above light,

light under light,

light beyond light, Aspen,

while a sunray once rayed somewhere.

Torrents furiously flow into you.

Lo, the rainstorm will shortly be over!

Nature’s irresistible transparency will


remind humans: leaves wither, so do


So far, we’ve experienced my share of


as intense, perhaps, as the patience of

this boat

that waits quietly ashore for a lake to


and pays no heed to the travelers

inquisitive peep.

Mine was a hermit’s loneliness, Aspen—




would pass by.

Nothing but me, alone, facing alien


I was the tree, I was the traveler,

same as you over the freezing seasons,

when your own self is at once

existence and locked-up light!

Light under light,

light under light, Aspen.

Please, spread across the underworld

the most blissful of news!

Translated from Albanian

by Arben P. Latifi


* Aspen – a lake in Jonserd,

Gothenburg, Sweden.

ALISA VELAJ (Albania, 1982) She was shortlisted for the

annual international Erbacce-Press Poetry Award in UK in June

2014. Her works have appeared in more than 100 print and online

international magazines in Europe, UK, USA, Australia etc. Velaj’s

poetry book “Dreams” is published by Cyberwit Press in India Besides

English, her poems have also been translated into Hebrew,

Swedish, Romanian, French, and Portuguese. Her poetry collection

With No Sweat At All is scheduled for publication by Cervena

Barva Press in November 2020.




The waters of the ocean had receded

Leaving exposed a rocky beach

Small rocks and big, with traces

of sand holding them,

And the waters of the ocean trickling

in at intervals,

The coolness for the feet to sample.

It was the time of the Brahma


The “Creator’s Hour”,

the last phase of the night,

The dark still lingering,

a hesitation to leave…

Probably why I couldn’t see

where I was placing my foot

And knocked it quite sharply into

a jutting rock…ouch!

Gingerly, I groped for a rock that

would be kind to my bottom

And sat upon it,

the surreal solitude to embrace.

Meddling the shallow sand with

the heel and toes of my feet,

I lost myself in the play of the waters

running in and receding…

I couldn’t see the expanse of the

ocean way beyond,

And I put it to the clinging darkness,

Till, a while later, as the first signs

of light glimmered in,

My ignorance was revealed, for

there, just across the rocky shore,

Was a boulder of mountainous

proportion eclipsing

The unlimited vastness beyond.

Almost simultaneously,

I became conscious

of a reverberating sound

Which, in those moments of unsure

light, vibrated of ominousness.

I imagined the turbulence on the

other side, and shivered.

In that fear, I now felt the rock I

was sitting upon

Unkindly hurting me with its rugged


And the sand between my toes,

no longer pleasurable.

With the discomfort pulsating, I

shivered from loneliness…

What kind of hellish place was


Why had I even come here at this

unearthly hour?

I turned my eyes skyward as if in

prayer and, as if on cue,

At that very moment of my deepest


The heavens opened up: morning


Daybreak revealed to me

a knowledge I had hitherto

not perceived —

In the middle of the rocky mass

was a passageway through


I could see the Akanda Mandalakaram

— the unfragmented


Did I see it or was it shown to me?

The gracious aurora in blessing

me with the medicinal collyrium

of wisdom

Had healed me of the darkening


I was no longer afraid, filled as I

was with the yearning to swim

In that quintessential realisation

of enlightenment

That was deeper than the highest


I rose from my lethargy and as I

took an eager step forward,

An effulgent shaft of tangible,

sparkling sunlight

Streamed in through the tunnel

My Guru had come to guide


The Transcendental divinity

had come seeking the devotee!

I walked on, steeped in the

strength of faith, unmindful

Of any hurtful rocks; they were

of no significance in the now…

Six steps in all I took through the

tunnel, reached the other side

My Ajna awakened, I evanesced

gradually into the light,

a luminous Self

Waiting to merge, to take that

final step

Into the Sahasrara!

VIDYA SHANKAR (India) is a widely published Indian poet, writer,

editor, yoga practitioner, mindful mandala artist, a “book” with the Human

Library, and English teacher. She is the author of two poetry books

The Flautist of Brindaranyam, in collaboration with her photographer

husband, Shankar Ramakrishnan, and The Rise of Yogamaya, an effort

at creating awareness about mental health. A recipient of literary awards

and recognitions, Vidya is the chief admin of the Facebook group Kavya-Adisakrit

and one of the editors of Kavya-Adisakrit, an imprint

of Adisakrit Publishing House. She is also a member of the poetry group,

India Poetry Circle, or IPC.

ISSUE #24 - VISUALIZE - FALL 2020 37



Photography by Frank Guiller, US

ISSUE #24 - VISUALIZE - FALL 2020 39


ISSUE #24 - VISUALIZE - FALL 2020 41

Join the permanent audio

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just share your poem - and

include on the body of

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or by writing to

The objective of the Poetic

Phonotheque is to document

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voices of poetry all around

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of inspiration and the

many languages we write

in, to fill the world with poetry

and bring us closer




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This issue has been designed

and edited in Denmark,

and is available as a

collectible print edition at

Red Door in Copenhagen

Møllegade 23 a kld

2200 Nørrebro

and at Kultivera in Tranås,

Sweden, or by ordering a

copy at

Featured artist of issue

#24 is

Mayuko Fujino.


Issue #24 of Red Door Magazine

exists thanks to each of our

collaborators and correspondents,

as well as those of you

who have chosen to subscribe to

Patreon and become supporters

of the Red Door Projects, including

this magazine, the gallery,

the Poetic Phonotheque, and

the Red Transmissions Podcast,

as well as other Madam Neverstop

operations. If you’d like to

join (and get that free t-shirt) visit:

To the following Patreon supporters,

endless gratitude!

Jenny Gräf Sheppard, Judith

Schaechter, Valentina & Camila

Upegui, Mikkel Vinther, Juana

M. Ramos, Melanie Perry, Zoila

Forss, Dominique Storm, Ulla

Hansen, David H. Rambo, Sam

Perkins, Crox Pow, Jaider Torres,

Tamar Tkabladze, Valeria Schapira,

Dharma Agustina Padron, Vale

Bechard, Melissa Albers, Anders

Hansen and David S. Miller.



Melaine Knight, aka The Neon

Rebel, in Australia.

Tanya Cosio and Mario Z. Puglisi

in Mexico.

Brandon Davis in Spain/France.


Kultivera in Tranås, Sweden

Keith Radio and SP3 in Berlin,


Muriel Fonseca for illustrating

this issue, Mayuko Fujino for

agreeing to be our featured artist,

Jaime Serra Palou for the wonderful

interview about the art of infographics,

Rafael Franco Steeves

for the ADJUNTO interview, all

the poets and writers who submitted

to this issue... and everyone

involved in the At the Fringe Festival

in Tranås.

Learn more about all our activities




Although Muriel Fonseca was

born in Manhattan, New York, she

was raised and spent most of her

adult life in Lisbon, Portugal. The

melancholy demeanor of Lisbon

has influenced many writers, poets,

musicians and artists and she

is proud to have grown up among


She started drawing at a young

age and was influenced by Dali

and Giger whom she still admires

to this day.

Her art has been displayed

around Sintra and Lisbon at bars

where they often had poetry nights

and bands playing.

In 2010 she decided to move

back to her birthplace, New York

City. A place where she didn’t

know anyone: a new beginning.

In 2011 she did her first exhibit

in Manhattan and it was a dream

come true. After that there were

many other shows, including a feature

in 2014 where her art was displayed

on the billboards in Times


She is currently illustrating a

book for a Portuguese poet.

Muriel describes her style as

dark surrealism.

You can find her at

ISSUE #24 - VISUALIZE - FALL 2020 43






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