Issue # 25 of Red Door Magazine "The Deviant Issue" Winter, 2020 Featuring the art of Ervin Van Muriel the photography of Alejandra Guerrero the illustrations of Anna Nygren and an interview with Oliver Harris. The Neon Rebel: A Deviant for the Peoples interview with Nicholas Morley Introducing the art of Monica Hee Eun the new Møllegade location of Red Door Kultivera presents the Punk Letters Project, with article "Pen and Paper: Punks in Print" by Dominic Williams And the poetry of: CALVIN WHARTON PANKHURI SINHA LUZ CASSINO FRANCISCO MUNOZ SOLER SERGIO LAIGNALET with translations by Fernanda Balangero GORDON MEADE SIVAKAMI VELLIANGIRI MARIA GALINA with translations by Nina Kossman WWW.REDDOORMAGAZINE.COM

Issue # 25 of Red Door Magazine
"The Deviant Issue"
Winter, 2020
Featuring the art of Ervin Van Muriel
the photography of Alejandra Guerrero
the illustrations of Anna Nygren
and an interview with Oliver Harris.

The Neon Rebel: A Deviant for the Peoples
interview with Nicholas Morley

Introducing the art of Monica Hee Eun
the new Møllegade location of Red Door
Kultivera presents the Punk Letters Project,
with article "Pen and Paper: Punks in Print" by Dominic Williams

And the poetry of:




with translations by
Fernanda Balangero



with translations by
Nina Kossman



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<strong>RED</strong> <strong>DOOR</strong> <strong>25</strong><br />


WINTER 2020<br />


ED<br />



8 -13<br />




34 - 41<br />

14 -19<br />

<strong>RED</strong> <strong>DOOR</strong><br />



THE ART OF<br />


32 -33<br />

<strong>25</strong><br />

FEATU<strong>RED</strong><br />

ARTIST:<br />

ERVIN<br />


26 -31<br />


TABLE OF<br />



Anna Nygren<br />

FEATU<strong>RED</strong> Artist:<br />

Ervin Van Muriel<br />

Kultivera presents:<br />


Punks in Print<br />

<strong>RED</strong> <strong>DOOR</strong> GALLERY<br />

Opening Report<br />

<strong>RED</strong> TRANSMISSIONS<br />

PODCAST:<br />

“Rewiring your<br />

expectations”<br />

with Oliver Harris<br />

The art of<br />




by Alejandra Guerrero<br />

The NEON REBEL<br />

A Deviant for the Peoples<br />

Editor in Chief,<br />

Designer and Art Director:<br />


M A D A M N E V E R S T O P<br />

madamneverstop.com<br />


POETRY OF:<br />


...pg.44<br />


...pg.44<br />


...pg.45<br />


SOLER<br />

...pg.45<br />


with translations by<br />

Fernanda Balangero<br />

...pg.46<br />


...pg.46<br />


...pg.47<br />


with translations by<br />

Nina Kossman<br />

...pg.47<br />

ISBN: 978-87-94003-00-1


<strong>RED</strong> <strong>DOOR</strong> MAGAZINE:<br />

Red Door Magazine releases digital issues quarterly<br />

with an emphasis on visual art and poetry. It also<br />

includes multimedia art, essays on adventures and<br />

activism, as well as relevant media articles. The magazine<br />

always features a poetry selection, prose, and<br />

occasional interviews by established and emerging<br />

artists. We’re here to give you a handful of essential<br />

pieces you can digest in one sitting.<br />

We’re currently seeking visual art, music, film reviews,<br />

travel and media articles, poetry, fiction, and creative<br />

nonfiction. Simultaneous submissions are always ok,<br />

and if you have a piece accepted elsewhere, please<br />

let us know by adding a note to your submission.<br />

Please send your content to reddoorny@gmail.com<br />

________________________________________<br />

File specifications: Your article may be a maximum of<br />

two pages, and we accept a maximum of 5 poems<br />

per submission.<br />

Please include a small biography of up to 10 lines<br />

about you. All this must be included as .doc files.<br />

All images must be attached as .jpeg images in a resolution<br />

of 1080 x 1080 px or its equivalent in format<br />

so it can be used for print and hi-res for web.<br />

ISSUE #26:<br />



JANUARY <strong>25</strong>TH, 2021<br />




& correspondents:<br />

Special thanks to Australian<br />

correspondent Melaine Knight,<br />

the Neon Rebel... and best<br />

wishes to all the Red Door<br />

correspondents: Brandon Davis,<br />

Tanya Cosio, Mario Z. Puglisi,<br />

Carolina Olguin, Monica<br />

Gonzalez Velazquez and all of<br />

you who have participated in this<br />

issue.<br />



ISSUE #<strong>25</strong> OF <strong>RED</strong> <strong>DOOR</strong><br />



Anna Nygren, a Swedish artist<br />

living in Gothenburg. She is<br />

a writer and playwright, also<br />

working as an illustrator.<br />

Her published work includes the<br />

novel HUNGER and her poetry<br />

collection PISTASCHE.<br />

FOLLOW her work via Instagram<br />


To understand the history of<br />

humanity is to look back at many<br />

wars, conquers and injustices,<br />

as well as natural disasters and<br />

horrible famines, and through<br />

this find a constant display of<br />

resilience, of continuation, of<br />

survival, that sometimes is difficult<br />

to comprehend.<br />

In Greek mythology, hope is seen<br />

as an extension to suffering, a part<br />

of that package in Pandora’s box,<br />

depicted as the young woman<br />

Elpis, often carrying flowers. In<br />

Hesiod’s poems Works and Days,<br />

it is explained that once Pandora’s<br />

box was open, “Only Hope was<br />

left within her unbreakable house,<br />

she remained under the lip of<br />

the jar, and did not fly away.” By<br />

default, it is often said, that hope is<br />

a curse of the gods, entertained by<br />

humanity’s inability to give up. Oh,<br />

how entertained they must be this<br />

year!<br />

Looking back at 2020, we will find<br />

a multitude of grievances, sorrows<br />

and challenges, human errors<br />

and unmentionable losses, ego,<br />

fake news, mass panic, corrupt<br />

idiots stepping over others to get<br />

their dose of spotlight and away<br />

with piles of money. We will find<br />

inept governors and uninformed<br />

decisions. We will find an extensive<br />

list of names of those lost to the<br />

pandemic, taking their stories and<br />

dreams with them prematurely,<br />

and leaving behind grieving and<br />

broken families. We will find an<br />

international preference for bailing<br />

out banks and big companies rather<br />

than independent businesses,<br />

families and students, as well as<br />

those at-risk minorities which often<br />

get left behind.<br />

We will find abandonment to<br />

those who were seen as essential<br />

workers, and more ignoring of<br />

those who weren’t. And right next<br />

to that we will see that plenty of<br />

those companies still fired their<br />

employees and profited unfairly or<br />

didn’t make it to the next round, as<br />

it is already becoming obvious. Oh,<br />

we will find a huge gap between<br />

opinions about everything, from<br />

mask-wearing to vaccines, to<br />

whether or not the pandemic is real<br />

and how it came to be. Pretty much<br />

as with climate change, the greatest<br />

emergency we as a humanity<br />

continue to face and ignore / doubt<br />

/ dismiss / panic about.<br />

Due to all this, #<strong>25</strong> of Red Door<br />

Magazine was designed to speak<br />

openly of our stubbornness; of the<br />

reasons why, whether it is a gift or<br />

a curse, we keep on holding on.<br />

Deviant is meant as what one would<br />

usually call a NSFW issue, but<br />

since plenty of us are working from<br />

home, well, who’s to say? Deviant<br />

speaks of the deepest desire. The<br />

secret wish. The whispered dream.<br />

When we look at erotica in poetry,<br />

photography and art, apart from<br />

the perversions or lust it might<br />

supposedly provoke, as well as<br />

when we look at deviance in other<br />

levels, what we are truly looking at<br />

is ourselves at our most intimate<br />

level, without any pretensions -<br />

doing what we want / need.<br />

I wanted to use this issue as a<br />

reminder of this. Of the thirst and<br />

the lust, of the cravings and the<br />

fantasies, of the unpredictable<br />

impulses and the mischievous<br />

curiosity in all of us, because this<br />

side of us often comes out, only in<br />

the dark.<br />


For this issue I have recruited the<br />

help of very talented visual artists<br />

to fill these pages with entire<br />

universes that hopefully will take<br />

you away, if only momentarily, and<br />

bring out the mischievous, curious<br />

self in you too.<br />

I’d like to take this opportunity<br />

to thank all the artists and poets<br />

who participated in this issue, as<br />

well as the correspondents and<br />

collaborators, with a special mention<br />

to Kultivera / Litteraturcentrum SVU<br />

in Sweden, for encouraging that<br />

next step this magazine needed to<br />

take, and convincing me to go from<br />

exclusively digital to deliciously<br />

printed. It makes a difference for<br />

those who are into collecting, and<br />

disconnecting from the screen. It<br />

also makes a difference when it<br />

comes to giving back to the efforts<br />

of maintaining this magazine<br />

running.<br />

Speaking of, this was also the year<br />

when the Patreon platform was<br />

started, and I want to thank all those<br />

supporters who have said yes to<br />

the campaign and joined, gaining<br />

access to exclusive content and<br />

goodies, yes, but mainly giving their<br />

support so that this magazine can<br />

continue, along with the podcast<br />

and the other Red Door initiatives.<br />

Thanks to each one of you, for<br />

giving your time, showing your<br />

support, sharing your passion, and<br />

making of this a poetry takeover.<br />

Wishing you hope, strength and<br />

clarity,<br />

Madam Neverstop.



Pen and Paper : Punks in Print<br />

is a work of creative non-fiction<br />

by Dominic Williams that will be<br />

published by Kultivera this winter.<br />

The text is a mixture of essay,<br />

memoir, journal and poetry. It was<br />

produced as an artistic response<br />

to an archive of letters exchanged<br />

between punks in the 1980s and,<br />

in a true DIY punk style, it is a wordbased<br />

collage.<br />

Williams provides responses not<br />

only to the contents of the archive,<br />

which often manifest themselves in<br />

found poems, but also with prose<br />

and poetry that responds to his<br />

own creative process as well as the<br />

practices and the artistic outputs<br />

of his fellow artists. Williams uses<br />

personal anecdote and memory;<br />

alongside social commentary and<br />

verse, to create a narrative that<br />

embodies the full experience of<br />

participating in this contemporary<br />

arts project. Here is an extract from a<br />

late draft of the book that describes<br />

the experience of the arts collective<br />

exploring the physical collection of<br />

correspondence for the first time.<br />

“Not long after Martin, Irena, Milica<br />

and I met in Tranås for the first time<br />

for the initial punk letters residency<br />

we decided that one of our first<br />

collective actions should be a trip<br />

to Jönköping and the archive. (…)<br />

We would all respond differently<br />

to what we had seen or were to see<br />

and maybe pushed by our previous<br />

artistic disciplinary practices would<br />

be examining different elements in<br />

the letters. As a practitioner in the<br />

language arts the textual content of<br />

the letters was important to me, the<br />

narratives.<br />

08<br />

However, as Irena pointed out<br />

there was so much repetition in the<br />

letters, the vocabulary was similar<br />

in most of them. The requests to<br />

exchange cassettes or records,<br />

the endless catalogued lists of<br />

bands and EP titles, the same<br />

questions for interviews for zines,<br />

the constant apologies for delays<br />

and waits … and yet there is so<br />

much to read between those lines,<br />

the very idea of such commonality<br />

between young people from<br />

distinct cultures, living in different<br />

political and social situations, often<br />

thousands of miles from each other.<br />

Text also interested Irena but, as a<br />

book artist, perhaps from a more<br />

aesthetic perspective than mine.<br />

Martin and Milica both, had a far<br />

more visual curiosity. (…)<br />

We had a great welcome form<br />

the team at the archive, joined<br />

them for Fika and were given a<br />

tour of the archive before we were<br />

led to a room where we could<br />

spend as long as we wished with<br />

some letters from the archive.<br />

There are literally thousands of<br />

letters in the collection, it was<br />

quite a conservative number that<br />

had been scanned and ‘digitally<br />

archived” when the archive was<br />

shared with us virtually, in fact the<br />

scanning of the collection is still<br />

incomplete (November 2020) and<br />

I don’t think any single person has<br />

yet had access to all that has been<br />

scanned. So it was, we were asked<br />

what letters we would like to see.<br />

The process of archiving the letters<br />

is at present pretty rudimentary.<br />

The contents of each ‘package’ are<br />

scanned as jpegs; The back and<br />

front of the envelope and the back<br />

and the back and front of any letter,<br />

poster, fanzine (page by page). Each<br />

image is individually numbered, each<br />

image within a package sharing the<br />

same number except the final digit.<br />

Packages are therefore numbered<br />

chronologically and are segregated<br />

by country of origin only, there is no<br />

cataloguing as such. No reference<br />

to the author or date of the package<br />

is recorded. Following scanning, the<br />

items are then returned to the box<br />

files in which they are stored in the<br />

chronological order assigned by the<br />

scanning system. (…)<br />

We had been engaged with this<br />

collection of letters, distantly, remotely<br />

as a “digital archive” for nearly a year<br />

but nothing had prepared us for<br />

the beauty, the pleasure, the nearecstasy<br />

of exposing all our senses to<br />

the physical and tangible experience<br />

of these artefacts. Texture, creases,<br />

folds, colours, show-through on<br />

thin paper, shiny tape, worn and nolonger<br />

sticky, cardboard beaten and<br />

bent, evidence of missing coins, and<br />

of re-used postage stamps, warnings<br />

that postal workers could read while<br />

cradling these packages in their<br />

hands. This was a good day and we<br />

dived in like children on Christmas<br />

morning excitedly telling each other<br />

about every new discovery we made.<br />

As we trawled through our treasure<br />

trove of missives we naturally started<br />

a discussion about handwriting.<br />

Most of the letters are from male<br />

correspondents and the smaller<br />

amount that were from female<br />

correspondents we often found quite<br />

easy to identify.

www.reddoormagazine.com<br />


010<br />

We played with the idea of trying<br />

to guess the gender of the writer<br />

from their script. In most cases<br />

we guessed correctly. But then<br />

we came across a small, tidy,<br />

very consistent hand. A script<br />

that seemed androgynous.<br />

We identified the author as an<br />

American, Ken. My fellow artists<br />

found this name hilarious. My<br />

father’s name is actually Kenneth<br />

but I guess it is quite uncommon<br />

outside of the UK. The only Ken<br />

they’d ever encountered was<br />

Barbie’s boyfriend!<br />

We came across a couple more<br />

letters from Ken before we<br />

discovered another neat hand,<br />

another correspondent who wrote<br />

quite lengthy communications,<br />

Charlie, also from the USA. The detail<br />

of Charlie’s letters was significant;<br />

there was real sense of wanting<br />

to share experience with others.<br />

Irena and I became fascinated<br />

with Charlie as a poet and a book<br />

artist; the textual content held<br />

perhaps a greater value than the<br />

image and visual aesthetic of the<br />

letters as artefacts that immediately<br />

appealed to Milica and Martin.<br />

We searched through boxes looking<br />

for the familiar writing on the front of<br />

envelopes. We uncovered several<br />

letters from Charlie and every time<br />

we did so, there were squeals of<br />

delight from Irena and me. The<br />

content of many of the letters in the<br />

archive are great primary sources of<br />

social history, and Charlie’s letters<br />

add so much to that element of<br />

the canon. His correspondence<br />

contained the usual list of cassettes<br />

and vinyl that he would like to<br />

distribute in Sweden as well as lists<br />

of material that he would like to buy;<br />

recommendations of American<br />

bands and bands from other<br />

places around the world) that he<br />

had been listening to. There is also<br />

a considerable amount of personal<br />

information shared in the letters.<br />

The letters that we have found<br />

so far span over seven years from<br />

February 1986 to September 1993.<br />

The first letter I read from Charlie<br />

reinforced the effect of time passing<br />

on this type of communication,<br />

he writes in late February of just<br />

receiving a package from Löken<br />

that has a postmark of 17 February<br />

and yet contains a letter dated 12<br />

December. He mentions in the<br />

letter that he and his girlfriend,<br />

Kim, are moving and had a special<br />

deal where they could live in a big<br />

house for $150 per month, but<br />

because Kim has just got a dog<br />

they will have to live in a smaller<br />

place and pay $500 per month. In<br />

April 1986 Charlie writes that he is<br />

working for the forestry service in<br />

Valdez, Alaska and expressed his<br />

environmental concerns regarding<br />

the US biggest ever oil spill. He is<br />

very unsure about living away from<br />

his girlfriend for so long, he will miss<br />

her and mentions he met a Swede<br />

the other day who was involved in<br />

the oil-spill clean-up operation.<br />

By 1987 Charlie is working regularly<br />

with trail-work for the forestry<br />

service and he like many of the<br />

correspondents in the collection<br />

engages in a discussion with<br />

Löken about his choices regarding<br />

compulsory military service in<br />

Sweden. In several of his letters<br />

among the tasks he lists as part<br />

of his job, he includes talking to<br />

people and this human interaction<br />

is obviously very import to him.<br />

The last letters that I have seen as<br />

yet from Charlie are from 1993,

www.reddoormagazine.com<br />


seven years later he now mentions<br />

the dog by name Kennai. Kim is<br />

intending to return to school after a<br />

ten-year break and they are moving<br />

to Colorado after spending three<br />

months is Thailand. Charlie has just<br />

spent three weeks in Idaho fighting<br />

forest fires.<br />

There are so many overlaps with<br />

stories that Löken has told me from<br />

his own perspective and so many<br />

personal references to events that<br />

resonate in world history it is truly<br />

fascinating. Another particularly<br />

interesting aspect to Charlie’s letters<br />

is that he was very mindful of saving<br />

paper, nearly every letter is written<br />

on the back of something else, scrap<br />

paper that he used and these pieces<br />

of recycled documents often act as<br />

secondary sources from social history<br />

supporting the primary source on the<br />

other side of the page. In fact it is one<br />

of those partial documents that led<br />

me to a physical search for Charlie.<br />

But before I could start that search we<br />

had to return to Tranås. After several<br />

hours we reluctantly decide that we<br />

should leave the archive, allow the<br />

archivists to finish their working day<br />

and go home and we needed to make<br />

the journey back to Tranås before<br />

the limited regional public transport<br />

stranded us in Jönköping. The journey<br />

home was quite a hectic episode<br />

with regional trains typically being<br />

cancelled and replaced by buses that<br />

would deliver us to bus stops a frantic<br />

dash away from trains connections<br />

that were leaving within seconds of<br />

our arrival. We arrived back in Tranås<br />

travel weary but very, very satisfied.<br />

www.punklettersproject.com<br />


www.reddoormagazine.com<br />


<strong>RED</strong> <strong>DOOR</strong><br />


By Madam Neverstop - Red Door Founder & Director<br />

On the 7th of October of 2009, while<br />

headlines in New York were taking<br />

turns discussing how safe the city had<br />

become, the disaster of swine flu and<br />

the Nobel prize awarded to Obama,<br />

from a corner in Long Island City,<br />

Queens, I announced the release of<br />

the first issue of Red Door Magazine.<br />

Back then, the idea of having a<br />

digital magazine was laughed at<br />

by many, who told me that having<br />

an online magazine was simply<br />

having a blog, and that to be taken<br />

seriously I needed to be printed. In<br />

my opinion, the accessibility of the<br />

internet and the affordability of not<br />

printing, gave me the advantages<br />

of creating a project I could sustain<br />

without ads or selling out to private<br />

sponsors wanting featured articles<br />

in exchange of income. The main<br />

priority, in my opinion, was creating<br />

a platform that was accessible at<br />

no charge, anywhere. Although the<br />

magazine never really became a<br />

financially successful venture (no<br />

surprise there), it definitely became<br />

an international platform for people<br />

to exchange ideas, share their latest<br />

projects, talk about their cultures,<br />

locations and visions, while finding<br />

others with similar interests. I have<br />

had the opportunity of seeing the<br />

world through this project, and<br />

having great New York galleries<br />

come to me for private previews of<br />

their upcoming shows in hopes I<br />

write something about them, and<br />

I’ve had angry diva artists, giving me<br />

hell for not featuring their work. The<br />

amount of incredible adventures<br />

and people I have met through<br />

this Red Door cannot be counted,<br />

and many of them are still my close<br />

collaborators and good friends.<br />

After leaving New York for a life<br />

in more democratic, easy-going,<br />

creative environments, I arrived to<br />

Copenhagen and soon after, Red<br />

Door took on the form of a gallery<br />

and studio, and began to take shape<br />

as its own creature, a physical aspect<br />

I never would’ve had the chance nor<br />

will to manifest in the United States.<br />

Exactly 11 years later, over 6000<br />

km from the big apple, on the 9th<br />

of October of 2020, while headlines<br />

in the world were taking turns<br />

discussing the effects of a pandemic,<br />

Brexit and the US’ most openly<br />

embarrassing / pathetic / dangerous<br />

president, in the beautiful city of<br />

Copenhagen I was given the keys<br />

to the new location of Red Door:<br />

Møllegade 23a kld, 2200 Nørrebro.<br />


www.reddoormagazine.com<br />


Eleven years is a long time to carry a<br />

voluntary project, made from the love<br />

of art and a passion to document it,<br />

with no income to invest in and no<br />

profit to take in return. Throughout<br />

the years, correspondents in<br />

Australia, Latin America, Europe and<br />

the United States have with equal<br />

passion shared their discoveries<br />

and written excellent articles to<br />

document their communities for a<br />

growing readership that pays no<br />

minds to frontiers. But now that the<br />

decade has come and gone, the<br />

purposes for the existence of this<br />

magazine continue to be reaffirmed<br />

by the need for freedom of the press<br />

and of speech, the promotion of<br />

arts, culture and activism, and an<br />

urgency to connect our independent<br />

communities and tell of their projects<br />

in spite of whatever the times might<br />

bring as challenges... and who would<br />

have thought? I’ve followed the<br />

advise of a league of wise publishers<br />

and joined their team, and now Red<br />

Door is both digital and printed.<br />

So here we are, in what I like to call the<br />

most poetic street of Copenhagen,<br />

not just because it is next to the<br />

oldest Jewish Cemetery of the city<br />

and I’ve always been fond of such<br />

calm, historic locations, nor because<br />

it is one of the oldest streets in the<br />

municipality of Nørrebro, a buzzing<br />

hub of migrants, independent<br />

businesses, residents and tourists…<br />

but because it simply is, by reputation,<br />

a street that radiates poetry.<br />

016<br />

When Danes are allowed<br />

to gather in big groups,<br />

at least two poetry<br />

festivals take place on<br />

this street, outdoors,<br />

with people sipping beer<br />

while enjoying poetry<br />

with their friends.<br />

Take the neighbors, for example.<br />

On No.7 is the headquarters of<br />

LiteraturHaus, a meeting place for<br />

writers, artists and people with an<br />

interest in literature, and under them<br />

Poesiens Hus, a union and cultural<br />

house with its own poetry bus and<br />

plenty of poetic activities, like visits<br />

to schools and festivals, all around<br />

the subject of poetry. Nearby is Det<br />

Frie Gymnasium (No. 26) which is<br />

an alternative school with a focus<br />

on creative programs and a focus<br />

on school democracy and openminded<br />

teaching methods, meaning<br />

the young artists and punks walk<br />

by on their way to school filling the<br />

streets with laughter. There’s three<br />

bookshops and several art studios,<br />

a comic book shop and a few cafés…<br />

and a sculpture of a girl reading a<br />

runestone, by Anders Bundgaard.<br />

Oh, yeah. When Danes are allowed<br />

to gather in big groups, at least two<br />

poetry festivals take place on this<br />

street, outdoors, with people sipping<br />

beer while enjoying poetry with their<br />



1993<br />

Red Door Gallery is also the<br />

headquarters of course of Red Door<br />

Magazine and the other Red Door<br />

projects under its umbrella: The<br />

Red Transmissions Podcast, the<br />

Poetic Phonotheque, and soon,<br />

Red Press, a small publication<br />

project with a focus on poetry in<br />

translation. At this location you can<br />

find exhibitions of international and<br />

local artists, signed prints of various<br />

themes for a wider palette of colors<br />

and flavors, object books, books in<br />

translation, poetry, poetry, poetry,<br />

poesía, risograph books, comics, and<br />

even a small bookshop of miniature<br />

books such as the Art of War and<br />

Alice in Wonderland, tended by a<br />

puppet version of me, hoping to also<br />

persuade you to join Patreon.<br />

Additionally, in the future my dream is<br />

to be able to have physical prototypes<br />

of the Poetic Phonotheque for you<br />

to be able to listen to – and record<br />

– poetry, as well as installations,<br />

sculptures, talks, projected films<br />

and workshops. The sky is the limit.<br />

1958<br />

Whether you are visiting or residing<br />

in Copenhagen and need inspiration<br />

for a new project or would like to<br />

get suggestions or ideas, or if you’re<br />

looking to expand your art collection<br />

or give a unique gift, or if you just<br />

need a break from the world and<br />

want to hide here… I look forward<br />

to welcoming you. And if you are<br />

reading this from a distant city,<br />

whether there’s a pandemic or not,<br />

handwritten letters and postcards are<br />

always more than welcome to:<br />

<strong>RED</strong> <strong>DOOR</strong><br />


2200 NØRREBRO<br />


www.reddoormagazine.com<br />


<strong>RED</strong> <strong>DOOR</strong><br />



Send your exhibition<br />

inquiries and other<br />

proposals to<br />

reddoorcph@gmail.com<br />

<strong>RED</strong> <strong>DOOR</strong><br />


2200 NØRREBRO<br />


www.reddoormagazine.com<br />




By Melaine Knight - THE NEON REBEL - AUSTRALIA<br />

This Neon Rebellion interviews Nicholas X Morley, on the Medical Cannabis<br />

Story, his work getting it out to the people, and his documentary film Greenlight.<br />

020<br />

In sociology, Deviance describes an action or behaviour that violates<br />

social norms, including a formally enacted rule (e.g.,crime), as well as<br />

informal violations of social norms ... Although deviance may have a<br />

negative connotation, the violation is not always a negative action;<br />

positive deviation exists in some situations. Although a norm is violated,<br />

a behaviour can still be classified as positive or acceptable.

Nicholas Morley is no stranger to being<br />

in the spotlight.<br />

Having grown up in the Melbourne, he<br />

started Hairdressing at 15, it took him<br />

on a path as a freelance professional<br />

hairstylist + makeup artist worldwide,<br />

for over 10 years.<br />

After living in NYC, he moved to<br />

Bali + started the iconic rock’n’roll<br />

celebrity fashion label Buddhist Punk,<br />

collaborating with acts like The Rolling<br />

Stones + AC/DC.<br />

At the peak of building this successful<br />

brand, Nic parted ways with his<br />

partners + started his own eponymous<br />

fashion label Nicholas X Morley. He<br />

went on to creatively direct Australia’s<br />

legendary surf brand Mambo + spent<br />

some time in L.A. helping set up Ed<br />

Hardy’s label for designer Christian<br />

Audigier.<br />

He then returned to Bali + set up<br />

a boutique production house,<br />

manufacturing some indie Australian<br />

labels like PAM, Alice McCall, Life<br />

Of Bird, One Teaspoon, Romance<br />

Was Born) turning illustrations into<br />

garments. The years of experience<br />

producing Buddhist Punk gave Nic all<br />

the skills to produce for these labels,<br />

but in the end, he felt like he was<br />

running a sweatshop + that wasn’t<br />

really the gig he wanted to pursue.<br />

After moving back to Australia with<br />

his partner at the time, well loved<br />

Australian designer Alice McCall +<br />

their 2 young kids, things changed in<br />

their relationship + Nic moved to Byron<br />

Bay with his eldest daughter.<br />

At this point, having reached a bit of<br />

a crossroads which often happens<br />

when people find themselves in Byron,<br />

Nic was suffering from depression<br />

+ confusion about where life was at<br />

+ a different path started to emerge.<br />

He met back up with an old pal who<br />

was an ethno-geneticist + by all<br />

accounts a modern day practicing<br />

shaman, who introduced him to CBD<br />

+ the power of medical cannabis.<br />

He then met kindred spirit + long<br />

lost brother Luke whom he found<br />

instant connection with + they would<br />

embark on a journey that finds them<br />

where they are today helping literally<br />

thousands of people though their<br />

work with medicinal cannabis.<br />

www.reddoormagazine.com<br />


Initially they worked with Endoca (from<br />

Denmark) one of the foremost companies<br />

that produce a fully organic full spectrum<br />

plant product of the highest grade.<br />

This was 7 years ago, before anyone really<br />

knew about CBD + its medicinal uses.<br />

The word got out + the boys found<br />

themselves on the phone all day long<br />

helping people get hold of medicinal<br />

cannabis products. They were running a<br />

website with information + guidance for<br />

people needing to access the products who<br />

suffered with chronic pain, cancer, + many<br />

of whom were parents of kids with epilepsy,<br />

where there had been research in the US to<br />

show CBD minimised seizures without the<br />

side affects known medication had.<br />

“There is many different<br />

types of Epilepsy. The<br />

retractable epilepsies, the<br />

severe epilepsies, there is<br />

no medication or western<br />

medicines that can stop it.<br />

They can slow it down but the<br />

side affects are so damaging to<br />

children (or anyone who takes<br />

it) that it’s basically the kiss of<br />

death anyway. Sure the seizures<br />

will slow down but it will make<br />

you fucking brain dead.”<br />

The boys were slipping through a fine<br />

legal loophole at that time until they got a<br />

message from the TGA (Therapeutic Goods<br />

Administration in Australia) who threatened<br />

to fine them “a couple of million dollars<br />

unless they shut the site down.”<br />

They did shut the site down but continued<br />

to spread the word + things just grew from<br />

there.<br />

So what is CBD oil?<br />

CBD stands for cannabidiol. It is the second<br />

most prevalent of the active ingredients<br />

of cannabis (marijuana). While CBD is an<br />

essential component of medical marijuana,<br />

it can be derived directly from the hemp<br />

plant, which is a cousin of the marijuana<br />

plant. While CBD is a component of<br />

marijuana (one of hundreds), by itself it does<br />

not cause a “high” or any form of intoxication<br />

caused by another cannabinoid THC.<br />

According to a report from the World Health<br />

Organization …<br />

“In humans, CBD exhibits<br />

no effects indicative of<br />

any abuse or dependence<br />

potential…. To date, there is<br />

no evidence of public health<br />

related problems associated<br />

with the use of pure CBD.”<br />

(Harvard Health)<br />

CBD can come as an isolate from hemp<br />

plants or marijuana plants, where it is pure<br />

CBD cannabinoids or it can come from a<br />

whole spectrum plant which will contain<br />

elements of THC.<br />

What does it do?<br />

It puts the body into homeostasis. It<br />

regulates the whole system, assisting<br />

the body to find its own neural + healing<br />

pathways.<br />

It has been proven to aid in dealing with<br />

pain relief, anxiety, sleep, depression, nerve<br />

+ neural disorders (such as Parkinson’s<br />

Disease + epilepsy seizures.)<br />


Is CBD Legal?<br />

As of 2020 – yes, CBD is legal in<br />

Australia with a prescription from a GP.<br />

The Therapeutic Goods Administration<br />

(TGA) has classed it as a Schedule 4 (S4)<br />

drug since 2016.<br />

However, it’s only legal if the CBD<br />

component of the oil is more than 98%<br />

concentration – meaning it has less than 2%<br />

of other cannabinoids found in cannabis.<br />

Similarly, to date in the US, Hempderived<br />

CBD products (with less than<br />

0.3 percent THC) are legal on the federal<br />

level, but are still illegal under some<br />

state laws. Marijuana-derived CBD<br />

products are illegal on the federal level,<br />

but are legal under some state laws.<br />

So herein lies some misinformation<br />

about the different types of CBD oils<br />

available + what they are used for.<br />

Much of the CBD oil available through<br />

healthfood stores + pharmacies to date, is<br />

CBD isolate, which is CBD on its own mixed<br />

with another oil, it is most likely derived<br />

from hemp plants, contains no THC, nor is it<br />

an outdoor grown organic product.<br />

The CBD oils Nic works with are full<br />

spectrum organic whole plant medicine.<br />

Why is it important to have a full<br />

spectrum organic whole plant product?<br />

Without at least a small amount of the<br />

THC, the CBD isolated doesn’t perform as<br />

it should. Through working with the plant<br />

+ watching the ever growing research<br />

coming out of the US + working with many<br />

people in chronic health states, Nic quickly<br />

realised that “while CBD was a great help, it<br />

was the THC also that did the hard miles, in<br />

a lot of cases, especially in cancer cases ...”<br />

Its also important to have an organic natural<br />

product.<br />

Most of the commercial medical cannabis<br />

producers at the moment, not all, are<br />

growing plants hydroponically in<br />

hothouses + light rooms under artificial<br />

lights + conditions that are missing the most<br />

vital important element. Nature.<br />

“The most potent + highest<br />

quality products that will<br />

deliver the best results are<br />

derived from plants grown<br />

the way nature intended.<br />

With Sun, rain, wind + in an<br />

organic soil full of microbes<br />

+ bacteria ...”<br />

Around 3 years ago, Nic was approached by<br />

some filmmakers to make a documentary<br />

about the work the boys were doing. For<br />

whilst they were providing medicines to<br />

some very sick people, essentially they<br />

were taking great risks + breaking the law.<br />

Nic felt the story was important + needed to<br />

be told.<br />

www.reddoormagazine.com<br />


The film looks at the real people who have some serious<br />

issues + are finding relief. It really drives home the reality<br />

of the situation.<br />

It sat as somewhat of an underground indie film until<br />

just last month. It’s been picked up + is being streamed<br />

on Stan here in Australia + can be viewed on Vimeo<br />

worldwide. (links at bottom of article).<br />

This correlates with the timing of the TGA opening the<br />

floodgates legalising CBD + making it available through<br />

chemists over the counter, admitting that it’s safe. The<br />

entire CBD story has become decriminalised, something<br />

the boys had always been saying needed to happen<br />

+ why they kept working, in spite of the slow health<br />

administration + legal systems.<br />

Why then, with so much evidence, do global<br />

Governments. not want to legalise Marijuana?<br />

When there’s a bottle shop on every corner + the<br />

undeniable facts that alcohol related deaths outnumber<br />

anything marijuana related …. THC needs to be<br />

regulated, which requires much more education for<br />

prescribers, whilst having the medicinal benefits taken<br />

in particular ways, unlike CBD, it can really fuck people<br />

up.<br />

The answer is a few years ago when the CBD story was<br />

kicking off big pharma companies started investing in<br />

the medical cannabis industry.<br />

According to Business News Australia, as of June 2020,<br />

Australia has hit the global market as a huge contender.<br />

It had listed over 30 ASX (Australian Stock Exchange)<br />

Cannabis companies.<br />

This is considerably more public companies than all of<br />

the European countries listed combined.<br />

These companies are mainly producing for export +<br />

since Covid have been forced to encompass the local<br />

market when global profits were plummeting.<br />

Where there is profits to be made in producing medical<br />

cannabis that is Government regulated + taxed with<br />

pharmaceutical companies trying to control it, then<br />

there is the rub.<br />

At this point, its also worth it to mention that Australia<br />

is also one of the worlds biggest cultivator (Tasmania)<br />

+ exporter of poppies. These go onto make pain relief<br />

medication like Endone + Oxy Contin ().<br />

With CBD/THC also a major contender for pain relief<br />

with a much less addictive + in all sorts of ways a friend<br />

024<br />

to the body, this poses a major threat to big pharma +<br />

their dominance in the market.<br />

That said, Marijuana for recreational use or straight up<br />

personal cultivation doesn’t look like it will be legal<br />

anytime soon but it does mean that for people with<br />

conditions, access without penalty is certainly in sight.<br />

Access to superior product is what Nic is all about.<br />

He has set up an online clinic that services about 6,500<br />

registered patients, offering advice on how to get full<br />

spectrum organic whole plant medicine.<br />

You can book a consultation here.<br />

www.greenlighthealth.com.au<br />

Greenlight Movie<br />




This issue is made possible thanks to<br />

the patronage of Red Door supporters,<br />

whose Patreon membership allows<br />

for this and other Red Door projects<br />

to flourish. A big thank you and best<br />

wishes to: David S. Miller, Yamila<br />

Bush, Zoila Forss, Dominique Storm,<br />

Jaider Torres & Tamar Tkabladze,<br />

Valeria Schapira, Dharma Agustina<br />

Padron, Melissa Albers, Ulla Hansen,<br />

Anders Hansen, Juana M. Ramos,<br />

Melanie Perry, Vale Bechard, Mikkel<br />

Vinther, Aleisa Stefanovski, Jenny<br />

Graf Sheppard, Crox Pow, Valentina<br />

Upegui, Judith Schaechter, Malene<br />

Boeck Thorborg and Alain Pallais.<br />

New Patreon subscribers: Sign up for any tier<br />

over 6eu/usd a month, and receive a limited<br />

edition t-shirt, organic and sustainably<br />

screenprinted in Copenhagen, in celebration<br />

of the reopening of Red Door Gallery.<br />

The search for new ways of sustainability for this magazine<br />

led to the creation of a Patreon campaign in April of 2020.<br />

Patreon is a platform that allows independent creators to<br />

provide exclusive content to their subscribers. In this case,<br />

a membership to Patreon gives you access to early access<br />

to the digital edition of the magazine (or printed collectible<br />

editions at your door, for those signing up from 20 USD<br />

a month and up), frequent behind-the-courtains updates<br />

on the latest projects, MP3 and PDF downloads of content<br />

that often includes poetry, translation, interviews to other<br />

creators, experimental music and visual art... as well as art<br />

prints, original art and more.<br />

What’s more important, is your membership gives you the<br />

satisfaction of knowing you<br />

are actively helping this<br />

independent publication<br />

continue to exist and be<br />

offered free of charge to our<br />

communities, with no ads<br />

and no sponsored content,<br />

and a focus on the things<br />

that matter: Art, culture, and<br />

what we are doing to help<br />

ourselves, our planet and<br />

one another.<br />

The membership to Patreon can be paused or cancelled at<br />

any time, and the tier levels of subscription begin at 3 USD<br />

a month, (plus tax depending on location). Your support<br />

directly helps cover the monthly expenses of the software<br />

used for creating and editing this magazine, its hosting,<br />

the podcast production, and as we grow, hopefully also<br />

the publication of limited editions of books of poetry in<br />

translation of different artists to help promote their work and<br />

find a greater audience. The next goal? Making the gallery<br />

sustainable so we can focus on workshops, exhibitions and<br />

hybrid events.<br />

Thanks for joining us! Looking forward to sharing with you!<br />

www.patreon.com/madamneverstop<br />

www.reddoormagazine.com<br />


ERVIN<br />











Originally from Medellin, Colombia, but<br />

with an impressive international trajectory,<br />

Ervin Van Muriel’s style is recognized as<br />

contemporary realism and has been exhibited<br />

in the United States and Europe extensively,<br />

awarding him recognitions such as the Erotic<br />

Signature – Book Winner in 2007, a spot on the<br />

book of World’s Greatest Erotic Art Today Vol.<br />

2 in 2008, and a position of notoriety and his<br />

art being auctioned by Sotheby’s in the past,<br />

becoming the youngest artist whose work was<br />

ever auctioned there. For some time, he was<br />

also represented by Wally Findlay, the second<br />

oldest gallery in the world which exclusively<br />

represents great masters, with only a handful<br />

of living artists in their repertoire.<br />

The things about Van Muriel’s art and<br />

persona (or is it personality, one doesn’t<br />

know sometimes with artists) that augur good<br />

adventures and opportunities with his art are<br />

many, such as the signature thick oil brush<br />

strokes that he uses, the contrast of lights and<br />

shadows in his work, the seductive intimacy of<br />

the pieces he creates (even in this selection of<br />

mostly portraits which is his most recent work)<br />

and the fact that he, against all odds, has been<br />

a self-taught, self-actualizing artist all of this<br />

time.<br />

MY ART IS<br />



IN MY LIFE,<br />



WITH.<br />

During our interview, he explained that the<br />

sole purpose and reason for painting was<br />

a need to narrate what he experiences and<br />

sees, and what he paints actually now on<br />

constant loop provides new life experiences.<br />

“My art is about the characters in my life,<br />

real people I interact with, not models, as I<br />

feel uncomfortable painting people I don’t<br />

know. The role my partners, companions and<br />

relationships have played is fundamental to<br />

my work, even since before I began painting<br />

professionally”.<br />

www.reddoormagazine.com<br />


At the age of 18 Van Muriel enrolled in<br />

the Art Institute of Fine Arts of Medellin,<br />

where he studied classical music and art<br />

for two years, when he would curiously<br />

analyze the suggestive figures of Boris<br />

Vallejo’s illustrations. However, his true<br />

identity developed from personal research<br />

and investigative nature with different<br />

techniques and media.<br />

He also explains that being from Colombia<br />

helped him find great mentors during his<br />

artistic development, when he had the<br />

opportunity of meeting, for example, master<br />

Luis Caballero, and how his friendship with<br />

other artists helped him have a fuller selftaught<br />

process, learning the importance of<br />

erring in order to solve the big questions<br />

that would later improve his work.<br />

Van Muriel enthusiastically mentions his<br />

great affinity for the work of Lucian Freud<br />

and Francis Bacon and of course great<br />

masters such as Leonardo, Rembrandt<br />

and Velazquez. A great lesson he shares as<br />

advice for fellow artists, is to not let oneself<br />

be compromised by current commercial<br />

trends, but have an impermeable insistence<br />

to the art, something, he clarifies, is not an<br />

easy task.<br />

“Through the years I was able to realize<br />

the influence of artistic concepts in almost<br />

everything I know and see in society<br />

and in my personal development. I am<br />

definitely curious about aesthetics, so I<br />

feel as a craftsman of forms. We owe it to<br />

the great artists before us who took risks<br />

with their ideas and feelings, opening<br />

the doors to those of us who see art as a<br />

labor, and therefore need an audience that<br />

can discern between cheap consumerist<br />

disposable art and true art”.<br />

Follow Ervin Van Muriel on instagram:<br />

@van_muriel<br />


www.reddoormagazine.com<br />



www.reddoormagazine.com<br />


MONICA<br />

HEE EUN<br />

Now, if there is one contemporary artist<br />

that pops to mind when mentioning the<br />

theme of deviance in our Copenhagen<br />

artists’ community, it would without<br />

a doubt have to be Monica Hee Eun.<br />

Originally from South Korea, Monica is<br />

an artist who lives and works in Denmark<br />

and whose signature style is an exquisite<br />

combination of sensuality and darkness,<br />

at many times seemingly reflecting the<br />

human aspects that only come out in<br />

032<br />

private confessional moments, at<br />

others appearing as portraits of demonlike<br />

figures that could also be seen as<br />

studies-of-self of a more critical nature.<br />

The focus of her attention, which could be<br />

categorized as dark-pop art, is described<br />

by the artist as her attempt to explore<br />

and understand the shadow side of our<br />

psychological composition, perhaps to<br />

understand our human complexity.

“I am interested in portraying certain<br />

primal drives and urges within the<br />

human experience - those deep rooted,<br />

seemingly irrational, darker emotions<br />

and impulses.<br />

An ongoing theme within our existence<br />

is this complex struggle with our primal<br />

behavioural tendencies, which we<br />

constantly and meticulously try to either<br />

repress, regulate or even disguise to<br />

function and coexist.<br />

Although, however hidden or well<br />

managed, these ancient, unconscious<br />

impulses are indisputably part of<br />

our ground foundation as a species,<br />

influencing our everyday actions and<br />

how we individually and collectively<br />

exist in this world.<br />

My attempts are to explore and manifest<br />

the visions I have of these drives by<br />

giving them form, bodies or faces -<br />

to acknowledge them and perhaps<br />

better understand them as a part of my<br />

condition as a human being.” -MONICA<br />

HEE EUN.<br />

To learn more about Monica’s work, visit<br />

her website:<br />

www.monica-hee-eun.com<br />

Or follow her on social media:<br />

@monicaheeeun<br />






- THOSE DEEP<br />





www.reddoormagazine.com<br />


The notorious erotica photographer,<br />

cosmologist, seductress and thrillseeker<br />

Alejandra Guerrero, who<br />

also goes by the name of Corporate<br />

Vampire, shares with Red Door<br />

Magazine an exclusive selection<br />

of photographs from her beautiful,<br />

hardcover book WICKED WOMEN,<br />

released in 2020 by Circa Press after<br />

a successful kickstarter campaign<br />

backed by her collectors.<br />

”The dream of this book came up 2<br />

years ago, when I was reorganizing<br />

my website, as erotica can be<br />

categorized by many different<br />

themes. The fetish oriented<br />

photography I called Wicked<br />

Women, (…) and Circa Press was<br />

very in agreement<br />

with this selection of photos”. Due<br />

to the pandemic they were scared<br />

that the campaign wouldn’t reach<br />

its goal, but it came through.<br />

There were big delays due to the<br />

long-distance aspects of printing<br />

and distribution, and tours were<br />

cancelled, but Alejandra rejoices<br />

in the fact that her book is out, as<br />

a collector’s edition, as her and her<br />

editor had envisioned in New York.<br />

With an introduction by Violet<br />

Blue - one of the world’s leading<br />

commentators on female<br />

sexuality, the book depicts a<br />

series of previously un-released<br />

photographs of her trajectory,<br />

which started in 2003 when as part<br />

of a Chicago artists’ organization<br />

called Fluxcore two of her<br />

photographs were included in an<br />

art show about sex and technology.<br />

Alejandra resides and works<br />

between Chicago and Detroit and<br />

was one of the 50 international<br />

photographers featured in The<br />

New Erotic Photography2, edited<br />

by Dian Hanson (Taschen 2012).<br />

In episode 18 of Red Transmissions<br />

Podcast Alejandra shares that her<br />

upbringing in Colombia, learning<br />

design and fine arts, but also being<br />

surrounded by a very conservative<br />

environment, led her to take a<br />

break and head to Chicago to work<br />

in a photo lab. This, she explains,<br />

became the beginning of her<br />

education in photography, at the<br />

University of Illinois (UIC) and a life<br />

of traveling and collaborating with<br />

renowned models and other artists<br />

internationally.<br />

“I like depicting sexy, strong women<br />

the spirit of a dominatrix. Through<br />

my work I explore the part of my<br />

personality that enjoys teasing and<br />

provocation. In doing this, I’ve seen<br />

the change and growth of myself as<br />

a person, a woman, a lover, a critical<br />

open-minded thinker and, most<br />

important, as an artist.” - Alejandra<br />

Guerrero.<br />

You can learn more about the<br />

great Corporate Vampire Alejandra<br />

Guerrero and her book Wicked<br />

Women by visiting:<br />

www.corporatevampire.com<br />

034<br />



www.reddoormagazine.com<br />


Through my work I explore the<br />

part of my personality that enjoys<br />

teasing and provocation. In doing<br />

this, I’ve seen the change and growth<br />

of myself as a person, a woman, a<br />

lover, a critical open-minded thinker<br />

and, most important, as an artist.”<br />

- Alejandra Guerrero.<br />


www.reddoormagazine.com<br />



www.reddoormagazine.com<br />



www.reddoormagazine.com<br />


Rewiring the expectations: Interview with<br />

Oliver Harris<br />

Episode 26 of Red Transmissions<br />

Podcast invites deviance in<br />

through a very specific corner of<br />

American Literature, or more of a<br />

blackhole of it, one of the favorite<br />

holes musicians, artists and many<br />

writers alike like to get lost into and<br />

often quote as some of their main<br />

influences: The Beat Generation.<br />

Several previous episodes of the<br />

podcast and articles in Red Door<br />

Magazine have already mentioned<br />

specifically the importance of<br />

William S. Burroughs in our current<br />

culture, from artists like David<br />

Bowie, the Beatles and Nirvana, to<br />

Robert Anton Wilson and Robert<br />

Shea, Patti Smith and others, but<br />

who better to get in deep on the<br />

subject with than renown academic<br />

and professor Oliver Harris, author<br />

and editor of over 14 books,<br />

including a dozen editions of works<br />

by Burroughs… as well as founder<br />

and president of the European Beat<br />

Studies Network.<br />

042<br />

Oliver shares in this conversations<br />

the reasons why he focused his<br />

career on this very unusual and<br />

specific subject for an academic,<br />

and how his relationship with<br />

Burroughs, from having him<br />

approve the thesis he had written<br />

about him, to visiting him various<br />

times in the US and editing his letters<br />

afterwards, allowed him to see the<br />

world and surround himself with an<br />

interesting collection of characters<br />

who shared his admiration and love<br />

for Burroughs.<br />

Of his encounters with Burroughs<br />

he remembers “he was very<br />

dynamic and very in character…<br />

he was much more human on a<br />

level that I had no expectations of.<br />

I bonded with him partly because<br />

I missed a father figure to relate<br />

to. It never occurred to me that<br />

this father figure would present<br />

itself in William Burroughs.” When<br />

asked about if he had a chance to<br />

see Burroughs’ writing process, he<br />

explains that at the time he wasn’t<br />

interested in talking about writing<br />

(Naked Lunch, 30 years earlier) as<br />

he would prefer to talk about visual<br />

art, and specifically his shotgun<br />

paintings.<br />

As a professor at Keele University,<br />

Oliver Harris has the opportunity<br />

of providing his students the<br />

attention, space and care he felt<br />

he learned from Burroughs, where<br />

rather than indoctrinating, a more<br />

pedagogic style could be applied,<br />

to ideally be inspiring to the new<br />

generations to find their own, very<br />

unique path.<br />

In celebrating the 50th anniversary of<br />

the publication of the controversial<br />

Burroughs novel Naked Lunch in<br />

2009, a group of academics and<br />

artists came together in Paris to<br />

make a conference and book with<br />

leading academics and creatives,<br />

which led to the forming of the<br />

European Beat Studies Network,<br />

with the purpose of bringing<br />

people together who share<br />

similar interests but might have<br />

completely different professions<br />

and lifestyles (herein comparing<br />

academics with creatives as an<br />

example and the synergies formed<br />

by these connections). Several<br />

virtual, hybrid and physical<br />

events are being organized in the<br />

coming years by EBSN, including<br />

a gathering in Paris and London in<br />

2023, CUT-Ups@63.<br />

Our conversation then leads us<br />

to discuss the excellent edition<br />

published by Tangerine Press of<br />

Burroughs’ Blade Runner, as well<br />

as the 3 Burroughs publications<br />

by Moloko Print released this year<br />

edited by Oliver, Battle Instructions,<br />

Minutes to Go and the Exterminator.<br />

Listen to the full episode at<br />

reddoormagazine.com/podcast or<br />

learn about the EBSN at ebsn.eu








www.reddoormagazine.com<br />




The office hours<br />

Celebrity<br />

The suddenly well-known surfer<br />

cresting waves of human health,<br />

recognized by name everywhere,<br />

A-list invader becomes<br />

virus laureate, writes overbearing lines,<br />

taints many stanzas with infected imagery;<br />

now captive audience, feverish,<br />

learns new words and phrases—<br />

coronavirus, social distancing,<br />

self-isolation, flatten the curve—<br />

a species forced to look closely<br />

at itself to understand and adapt<br />

behaviour to this latest trend;<br />

each day all previous charts are topped,<br />

yesterday’s high count fades<br />

as today’s numbers roll out for scrutiny,<br />

and the uncertain faithful,<br />

bearing surgical masks and latex gloves<br />

reluctantly climb the rickety bandwagon<br />

paying careful attention to the turning wheels<br />

that might squeeze breath from lungs,<br />

leaving them collapsed like discarded rag;<br />

while the celebrity strolls red carpet,<br />

waving and pointing into the crowd,<br />

cameras catching the gleam in the eye,<br />

and that dark, dark grin.<br />

Had he not followed me<br />

So closely<br />

Had he not followed me<br />

In a way that revealed<br />

That not only were strangers<br />

Keeping an eye on me<br />

On all my activities<br />

Including my restaurant trips<br />

But my own people<br />

With an account of the bills<br />

That were generated<br />

And my husband<br />

To whom they were sent<br />

All were keenly observing me<br />

And had authorized him<br />

To appear at random<br />

To appear before me<br />

In these places<br />

As though formally<br />

And vocally keeping an eye<br />

And<br />

Had he not exercised<br />

His powers exceedingly<br />

Excessively<br />

I would not have asked him<br />

The exact mechanics<br />

Of how he accomplished it<br />

Given the town was all with him<br />

And against me<br />

All distances were within his reach<br />

But had he not taken advantage<br />

Of all of their espionage<br />

The students would not have pounced on me<br />

The way they did<br />

And I would not have insisted<br />

For the exact mechanics<br />

Behind his patrol<br />

And it just might have prevented<br />

A lot of war.<br />


Calvin Wharton<br />

North Vancouver, BC<br />

Canada<br />


Bilingual poet and story writer from India.<br />

Two books of poems published in English, two<br />

collections of stories published in Hindi, and five<br />

collections of poetries published in Hindi.<br />


Delirium<br />

In my delirium<br />

impure<br />

savage<br />

everyday<br />

I cross your city of corners with brackets<br />

and I move towards your mouth which opens in<br />

a parenthesis<br />

I linger on your chest highlands and plains<br />

where all the drums rumble<br />

I dishevel in your belly button<br />

where daring gardenias bloom<br />

and I go down slowly until you lift up and I lift<br />

myself<br />

in my delirium<br />

over and over again<br />

I break the sixth commandment<br />

I navigate indecent waters<br />

over unwritten laws<br />

which I invent in each attack<br />

and I enjoy playing in the middle of the<br />

shipwreck.<br />


Los intereses creados convierten<br />

la verdad en demagogia,<br />

la libertad en bien colectivo,<br />

el progreso en materiales de consumo<br />

y la felicidad<br />

en un seguro para después<br />

de la muerte.<br />


The created interests turn<br />

truth into demagogy<br />

libery into a common good<br />

progress into materials for consumption<br />

and happiness<br />

into an insurance<br />

for after death.<br />

Translated by<br />

Elizabeth Torres.<br />


Argentine-Italian Writer living in Vilanova i<br />

la Getrú (Barcelona). Luz Cassino currently<br />

works on her 4th book.<br />


Málaga, Spain<br />

www.reddoormagazine.com<br />



The little duck peers<br />

at the surface of the lake<br />

and beholds himself<br />

echoes of guffaws fill his mind<br />

he turns pale<br />

shivers<br />

counts to three<br />

and dives to the bottom<br />

with a stone tied around his neck<br />


El pequeño pato inclina la cabeza<br />

sobre la superficie del lago<br />

y se contempla<br />

un eco de risotadas apresa su mente<br />

Floreana Mockingbird<br />

Apparently, in the good old days,<br />

I was Charles Darwin’s muse;<br />

the inspiration behind his theory<br />

of Natural Selection. These days,<br />

however, I am singing a somewhat<br />

different sort of tune; a lamentation<br />

for the decimation of the Prickly Pear<br />

Cactus, on which I like to roost.<br />

Without it, I might soon be<br />

gone. Does this, I wonder, make<br />

Darwin’s idea of the survival<br />

of the fittest, right or wrong.<br />

palidece<br />

temblequea<br />

cuenta hasta tres<br />

y se zambulle hasta el fondo<br />

con una piedra atada a su cuerpo<br />

SERGIO LAIGNELET, Colombia<br />

residing in Madrid. With translations by<br />

Fernanda Balangero.<br />

sergiolaignelet.blogspot.com<br />


Gordon Meade is a Scottish poet based in<br />

the East Neuk of Fife. He is the author of 10<br />

poetry books.<br />


I was on the edge of the earth<br />

I saw places<br />

Where emptiness peeped out of the eyes of the<br />

locals<br />

A man spoke to me<br />

He chased his wife with an ax<br />

Not because she was unfaithful to him,<br />

But because she was not the one. Someone<br />

simple<br />

Is easier to replace for creatures with stars.<br />

Betelgeuse, Sirius, Procyon<br />

Her daily diet is measured out.<br />

At night, there is light above the empty villages,<br />

Sirius, do you copy ,<br />

He snores, turning his face to the wall,<br />

She transmits:<br />

Recall the landing crafts<br />

This land is killing even its own…<br />

Bark bursts on trees<br />

A badge of the moon in the cross of a window<br />

On a hill near an empty hut<br />

The dead stand like rooted posts.<br />

As for the Earth-Moon pair,<br />

Of all the scouts, only I survived...<br />

She does not know the subtle art of sleep.<br />

She carefully arranges herself on the edge,<br />

Corrects her sprawling face<br />

And hears him mutter– I’ll kill you bitch ...<br />

The news is carried to the sky by an oblique ray,<br />

Towards the constellation of Gemini.<br />

Someone heavy is tossing and turning on the<br />

other side of the wall.<br />

She shakes his shoulder:<br />

- I’m scared. Talk to me.<br />


Uncle had siblings<br />

whom he bypassed to obtain<br />

what was not legally his.<br />

After a time relatives and friends could gauge<br />

how his brain worked<br />

they caught him at the unexpected path.<br />

People called him<br />

the 20 th Century Fox<br />

I thought it was the Aesop’s fables<br />

until I saw the movies<br />

and thought what a shame<br />

the cinemascope was larger than life<br />

and there was no place in it for a man like him.<br />


Translated from the Russian by Nina Kossman. was born<br />

in Kalinin (now the city of Tver) in 1958. She started<br />

publishing fiction in the 1990s under the pen name<br />

Maxim Golitsyn.<br />

Nina Kossman is a bilingual writer, poet, translator of<br />

Russian poetry, and playwright.<br />


A senior poet born in Madras and brought up<br />

at Trivandrum, and now living in Chennai.<br />

“How We Measured Time” is her debut<br />

poetry book.<br />

www.reddoormagazine.com<br />


THE <strong>RED</strong><br />



The Red Transmissions podcast<br />

aims to document the work, behindthe-scenes<br />

moments and creative<br />

process of the incredibly interesting<br />

characters in our network, be it in<br />

Copenhagen, New York, or around<br />

the world where our correspondents<br />

find themselves or our poetic<br />

adventures take us.<br />

Find out why artists, activists and<br />

worldthreaders do what they do,<br />

how they do it, and hear about the<br />

inner workings of their projects.<br />

Contemporary happenings and<br />

conversations on culture, music,<br />

art, film, poetry, environment and<br />

independent projects around the<br />

planet. WE EXIST!<br />

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podcast providers or directly from<br />

the website:<br />

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podcast<br />

048<br />

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