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RED DOOR <strong>29</strong><br />


WINTER 2021-22<br />



RED<br />

JUSTIN<br />

PENOV<br />

36-41<br />

02<br />

PER<br />



ALAN<br />

RANKLE<br />

26-31<br />

MARTIN<br />


22-23<br />

DOOR<br />



RED DOOR MAGAZINE <strong>29</strong><br />


Winter 2021 - 22<br />


PER ADOLFSEN ----------------------------- 8 - 13<br />



A conversation with Mark Nowak--- 16 - 17<br />


by Martin Andersen ---------------------- 22 - 23<br />

With poetry by:<br />

Xu Linzhi ---------------------------------------- 17<br />

Tanya Cosio -----------------------------------20<br />

Ilaria Boffa --------------------------------------21<br />

Iraj Shariq ---------------------------------------24<br />

Bruce Mc Rae ---------------------------------25<br />


ALAN RANKLE ----------------------------- 26 - 31<br />

JUSTIN PENOV -----------------------------36 - 41<br />


Poetic connections in time of isolation<br />

by Frank Bergsen ------------------------ 32<br />

Maps to fight anxiety<br />

by Mario Z.Puglisi ----------------------- 34 - 35<br />


is released in Denmark under<br />


ISBN 978-87-94003-05-6<br />

All rights reserved<br />




<strong>Red</strong> <strong>Door</strong> Magazine releases digital & printed issues<br />

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

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

and activism, as well as relevant media articles and<br />

documentation of the activities by our network, including<br />

you. The magazine always features a poetry selection,<br />

prose, and occasional interviews by established and<br />

emerging artists and upcoming events. We’re here to<br />

give you a handful of essential pieces you can digest in<br />

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 let<br />

us know by adding a note to your submission; we’re not<br />

aiming for exclusivity - but relevant, quality content.<br />

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

________________________________________<br />

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

two pages, and we accept a maximum of 4 poems per<br />

submission. All languages are welcome but please<br />

include English translation.Also include a small biography<br />

of up to 10 lines about you. All this must be included as<br />

.doc files . All images must be attached as .jpeg images in<br />

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

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






06<br />

Dear all,<br />

Please insert here the appropriate new year<br />

greetings and best wishes, an optimistic yet<br />

realistic phrase on how to set projects and<br />

resolutions by aiming high while continuing<br />

to be in the middle of a global pandemic. I am<br />

a poet, yes, but I think this message needs to<br />

adjust individually based on the region and<br />

situation these words find you, so please<br />

imagine I have said just what you wanted to<br />

hear in order to feel inspired and comforted.<br />

Now, getting straight to the point: The<br />

themes of the magazine are often chosen<br />

by the collaborators and correspondents of<br />

the magazine. The theme of UNINHABITED<br />

was chosen by Tremella radio host Solveig<br />

Willum, who is an outdoors enthusiast and<br />

lecturer on the subject, and with whom <strong>Red</strong><br />

<strong>Door</strong> is collaborating this summer to host<br />

the very first Uninhabited International Film<br />

Festival, a series of documentaries, short films,<br />

poetry films and lectures on precisely that:<br />

The uninhabited, undisturbed, untainted<br />

places of our planet...and humanity’s<br />

relationship with nature. This is why it was<br />

the perfect opportunity to focus our eyes on<br />

the landscapes, on the abandoned lands,<br />

on the empty spaces, through the art of<br />

three very different artists, two who focus on<br />

landscapes and one whose art is an entire<br />

world of scenes of the aftermath, homes left<br />

behind in some corner of our own being.<br />

Alan Rankle’s landscapes lean towards<br />

abstraction but are also enchanting scenes<br />

of their own, and I look very much forward to<br />

hosting his exhibition at <strong>Red</strong> <strong>Door</strong> this spring.<br />

Of Per Adolfsen, you will read more in the<br />

pages of his featured article, and you can<br />

hear his thoughts directly on the podcast.<br />

Before I go on there is something that I need<br />

to mention regarding the choice of artists in<br />

these pages, because I am often speaking of<br />

inclusion. I want to note that I did do research,<br />

and contact artists of other genders, but<br />

sadly did not hear back from any of them. I do<br />

not say this as an excuse, but to encourage<br />

the readers of this magazine to help with the<br />

curation and diversity of the work in these<br />

pages, so that all colors and genders are<br />

represented... and to keep me in check too.<br />

Speaking of goals for 2022, there’s<br />

something I am attempting to push forward<br />

with a group of collaborators of <strong>Red</strong> <strong>Door</strong>.<br />

We have in the past spoken of <strong>Red</strong> Press, as<br />

an independent publishing project, mainly of<br />

poetry in translation, which I began with the<br />

poet Lalo Barrubia. There is a series of books<br />

in various languages which we have busily<br />

translated to English, and which I hope to<br />

begin releasing later this year.<br />

Then there’s also Tremella Radio, an<br />

independent radio station of literary and<br />

cultural conversations, wellness, mindfulness<br />

and excellent music... and the physical<br />

gallery on Møllegade, always welcoming<br />

new exhibitions, but which has been forced<br />

to be closed more often than open the past<br />

two years due to the pandemic. If you are<br />

reading this you probably know that I run all<br />

these projects independently, with no private<br />

nor public support, apart from my patreon<br />

subscribers. Here is my official invitation to<br />

you, to join me this year that begins now, and<br />

begin receiving your quarterly subscription<br />

of the magazine:<br />

www.patreon.com/madamneverstop<br />

or simply give a pledge of your support and<br />

help me continue all these projects, which<br />

aim to document, entertain and inform, from<br />

both a local and international standpoint,<br />

with many voices and initiatives.<br />

This paragraph must be the one where I<br />

share my gratitude, my joy and my delight<br />

to be working with the cultural organizers,<br />

collaborators, correspondents and artists<br />

who make of <strong>Red</strong> <strong>Door</strong> such a beautiful<br />

publication. Special thanks to Frank, Colm<br />

and Magnus in Kultivera, Dominic, Mel and<br />

Aleisa in Litteraturcentrum KVU, Solveig<br />

Willum, Martin Andersen, Tanya Cosio, Mario<br />

Z. Publisi, Brandon Davis, and of course to<br />

my husband Dr. Hansen who is so giving<br />

and willing to help out at every exhibition,<br />

give an ear to every podcast, and provide<br />

the emotional support during the long winter<br />

months and all year round.<br />

To each and everyone of you who since<br />

2009 has accompanied <strong>Red</strong> <strong>Door</strong> Magazine<br />

through its transformations and adventures,<br />

may poetry keep you warm, inspired, alive.<br />

-Madam Neverstop.



In the island of Fyn, in English known as Funen,<br />

45 kilometres north of Svendborg, there’s a<br />

city called Odense, home of the author of fairy<br />

tales Hans Christian Andersen, but it is also the<br />

place where the last Viking king, Canute IV of<br />

Denmark, was murdered by unruly peasants.<br />

The Odense river flows through the city from<br />

the south, and to the north there is the Odense<br />

Fjord, accessed through narrow passages and<br />

canals. Then there are beaches and hills, so<br />

many trees, the rugged peninsula of Skoven,<br />

and connected by highways, islands. One<br />

of them, an important breeding ground to<br />

migratory birds.<br />

It is in this complex environment of temperate<br />

oceanic climate and long winters, where<br />

Danish artist Per Adolfsen finds the subjects of<br />

inspiration for his art. It is true that the subject of<br />

choice does not have a name nor takes breaks<br />

from posing, but it is just as full of life and<br />

magic, breathing and dancing, as any other<br />

muse whose beauty has been immortalized by<br />

artists in the past.<br />

What attracts to Per Adolfsen’s art is the<br />

familiarity of the scenes depicted, the simple,<br />

firm lines and confident color combinations,<br />

but most certainly the magic that is captured<br />

in each of his pieces, as if creating havens on<br />

purpose for us to look at and hide away in...<br />

away from a busy, boring world of greys and<br />

loneliness, into fairy tales of tall branches,<br />

fjords, and the nostalgic reflections of a heart.<br />


PER<br />



On a recent interview with <strong>Red</strong> Transmissions<br />

Podcast, Per Adolfsen shared that his interest<br />

for landscapes, and for art itself, started when<br />

he was just a child, but was confirmed when<br />

on a trip to Norway to celebrate his sister’s<br />

wedding, he was taken to see the Edward<br />

Munch museum, confirming in this place that<br />

what he wanted to do was create “something<br />

that could touch others... leave behind<br />

something that can move a child’s heart as<br />

much as an adult’s, create feelings”.<br />

When speaking of the artistic process he<br />

exclaims that art is the same as poetry. It is<br />

about the system, the rhythm, the music.<br />

“There’s a difference, I notice, if you’re driving<br />

here in Denmark, we have all these fields and<br />

sometimes they have green corn, and when it’s<br />

short you can see the dark soil underneath, so<br />

in summertime, for example, when it has rained<br />

roughly, the soil is so dark brown and thick,<br />

and the green corn shines like if it was neon,<br />

and the air is special, the light is something<br />

special. If you can feel this the right way, you<br />

are where you are supposed to be. But I think,<br />

the way we live, we are adults, we have seen<br />

this 100 times, we forget to notice. We forget<br />

see. You have to look for stars. You have to<br />

dream. People get so mature it’s boring.”<br />

Per speaks highly of the ability to have<br />

curiosity, to find new connections, to find the<br />

new angle in everything by allowing the inner<br />

child to remain curious and alive. It is this<br />

balance between falling constantly in love with<br />

nature and documenting it, to trying out new<br />

technologies and using Instagram as a daily<br />

challenge, what has build him a dedicated fan<br />

base.<br />

From exhibiting in Armory week in New York, to<br />

Miami, Paris,Japan, Korea, the UK, something<br />

is always happening in Per Adolfsen’s busy<br />

art schedule. “I am just a kid, somehow. I was<br />

thinking, let’s make a world tour! I don’t want<br />

the intellectual reflections in the big galleries.<br />

Tell them: Per likes to go into nature, and<br />

paint. I just want to show this to people. I am<br />

so grateful to my audience for supporting my<br />

work. When I was a kid I didn’t know you could<br />

do exhibitions and experience the world, I just<br />

thought it was wonderful to paint, but I really<br />

enjoy connecting with those who enjoy my<br />

work”.<br />


“In summertime, for example,<br />

when it has rained roughly, the<br />

soil is so dark brown and thick,<br />

and the green corn shines like<br />

if it was neon, and the air is<br />

special, the light is something<br />

special. If you can feel this<br />

the right way, you are where<br />

you are supposed to be...<br />

But we have seen this a<br />

hundred times. We forget to<br />

notice. We forget to see. You<br />

have to look at the stars. You<br />

have to dream!”.<br />

-Per Adolfsen.<br />

With more than ninety thousand followers on<br />

social media and collectors all over the world,<br />

Per has now found a stable international<br />

appreciation of his work, which serves as<br />

an additional encouragement to continue<br />

creating, and trying to find the purpose of life<br />

and creativity. “When I started this project I<br />

was really depressed, more than I was aware<br />

of. It’s a long story, but when I do this I forget<br />

myself. I focus on my lines, on the rhythm, on<br />

the patterns of the world around me.”<br />

The art piles up beautifully, a collection of<br />

black and white pencil illustrations and the<br />

beautiful, colorful landscapes you find in these<br />

pages. There’s movement, harsh and vibrant,<br />

which is not just from the wind, but from a<br />

rage, a nostalgia, a melancoly that is very<br />

ingrained in his Scandinavian nature, prone<br />

to darkness and long winters. “People say we<br />

are the happiest in the world, us Danes, but in<br />

reality we have the highest rate of suicide in<br />

the world, and at the same time, we are such<br />

spoiled people.”<br />

Listen to the entire interview with Per Adolfsen<br />

by looking up <strong>Red</strong> Transmissions Podcast on<br />

Spotify, iTunes or most podcast providers, or<br />

visit www.reddoormagazine.com/podcast<br />

Follow Per Adolfsen on instagram:<br />

@peradolfsen_artist<br />

Art provided by Per Adolfsen<br />

Article by Elizabeth Torres<br />

for <strong>Red</strong> <strong>Door</strong> Magazine, 2022.<br />




A most exciting new project launched this summer in Denmark / Sweden, led by <strong>Red</strong> <strong>Door</strong> but<br />

founded as a democratically run and managed community radio station, with a focus on literature,<br />

sustainability, sound art, mental health and wellness, as well as performance arts and independent<br />

music.<br />

Tremella is the name of a family of fungi that is often ear-shaped, but also sounds a lot like Tremello,<br />

a modulation effect that rhythmically changes the volume of your signal... It all just seemed very<br />

fitting for the name of a radio station with the aforementioned interests.<br />

There’s a little bit of everything, from the classic Orson Welles plays for radio to a show by the<br />

International Centre of Women Playrights, several shows by poets, including Foreignness and<br />

Friendship by poet Morten Ranum, Monday Madness by Claus Andersen, the Poetic Phonotheque<br />

and <strong>Red</strong> Transmissions, as well as various sound art shows, talk shows about mental health and<br />

wellness, and playlists by venues and DJs in our network. Tune in via: www.tremellaradio.eu<br />

Or even better, join us with your own show! Write to tremellaradio@gmail.com for more info.<br />




016<br />

Poetry is the craft of necessity,<br />

rather than a refined practice done in<br />

illuminated blank spaces. It is the art of<br />

documenting through words that which<br />

is not tangible, not easily visible, and<br />

which in many occassions occurs away<br />

from the public eye. Poetry is a tool for<br />

the people, in case of silence, in case<br />

of injustice, in case of love, in case of<br />

routine setting in, in case of pandemic.<br />

I am reminded of its importance as a<br />

documentation and communication<br />

instrument when I speak to Mark Nowak<br />

about the Worker Writers School, and the<br />

tellings of his experiences working with<br />

trade unions and workers, sometimes<br />

also with prisoners, many times with<br />

people who had never before written a<br />

book but whose sensibility was always<br />

there, accompanying them through<br />

the visions and daily tasks of their<br />

jobs. Nowak mentions another book<br />

launched this year as a result of these<br />

workshops and poetic meetings, now<br />

turned virtual due to the on-going covid<br />

lockdowns. It is called Coronavirus<br />

Haiku Book.<br />

You can listen to the full conversation<br />

by looking up <strong>Red</strong> Transmissions<br />

Podcast on Spotify, iTunes and most<br />

podcast providers or by visiting<br />

reddoormagazine.com/podcast<br />

Poetry is a thing of survival. Poetry is<br />

essential. Don’t you forget that.<br />

Special thanks to Mark Nowak for this<br />

insightful interview.


Mark Nowak is the author of Coal Mountain<br />

Elementary, Shut Up Shut Down, and Revenants.<br />

He is the recipient of the Freedom Plow Award<br />

for Poetry & Activism and fellowships from the<br />

Lannan and Guggenheim foundations. Nowak<br />

has led poetry workshops for workers and trade<br />

unions in the US, South Africa, the UK, Panama,<br />

the Netherlands, and elsewhere. He is currently a<br />

professor of English at Manhattanville College and<br />

the founding director of the Worker Writers School.<br />

A screw fell to the ground<br />

in this dark night of overtime<br />

plunging vertically, lightly clicking<br />

it won’t attract anyone’s attention<br />

just like last time<br />

on a night like this<br />

when someone plunged to the ground.<br />

-Xu Lizhi<br />

Chinese migrant worker and poet,<br />

who worked at the Foxconn Factory in Shenzhen until<br />

his death from a 17th floor across the factory, at 24 years<br />

old. (pg.240 of Social Poetics). Translation by Nao.<br />


Social Poetics documents the imaginative<br />

militancy and emergent solidarities of a new,<br />

insurgent working class poetry community rising<br />

up across the globe. Part autobiography, part<br />

literary criticism, part Marxist theory, Social Poetics<br />

presents a people’s history of the poetry workshop<br />

from the founding director of the Worker Writers<br />

School. Nowak illustrates not just what poetry<br />

means, but what it does to and for people outside<br />

traditional literary spaces, from taxi drivers to street<br />

vendors, and other workers of the world.<br />


018<br />


OPEN CALL:<br />

The Poetic Phonotheque is a<br />

multimedia collection of poetry in<br />

all languages, in all subjects, in both<br />

audio and video.<br />

The purpose of this phonotheque is<br />

to serve as a contemporary archive<br />

of our voices, emotions, struggles,<br />

stories and styles, wherever we are, to<br />

bring us together in spite of the social<br />

distancing of our current times.<br />

To participate and add your voice to<br />

the collection, visit:<br />

www.poeticphonotheque.com<br />

and submit your audi by directly<br />

recording it on the website.<br />

If your poetry is more experimental<br />

and involves music, effects, or other<br />

voices, please email us an mp3 file to<br />

poetiskefonotek@gmail.com<br />

If your poetry is in video format, please<br />

send the files also, as we do not embed<br />

from other websites.<br />

The physical collection is hosted<br />

at Kulturhuset Islands Brygge in<br />

Copenhagen, Denmark, and at<br />

Kultivera in Tranås, Sweden. If you are<br />

a cultural organizer and would like to<br />

host the collection in your city, please<br />

send us an email to the same address.<br />

Voices from the world.<br />

Poetry for all.<br />


POETRY<br />

Verb without person<br />

I<br />

Pachamama swallowed your companions<br />

tears your belly apart<br />

with music in Portuguese.<br />

II<br />

From I don’t know what planet or stadium, they<br />

tell you:<br />

learn, you must learn again the word Enjoy.<br />

Tanya Cosío<br />

Jalisco, Mexico<br />


Naked poem<br />

The city and this solitude<br />

found architecture of things<br />

no shades in the north light.<br />

Inhabitants disappear hence<br />

built structures reside naked.<br />

Abstract counterparts, we owe<br />

the aesthetic of utility-bearing composites.<br />

Some places open causal profiles<br />

they extend semantics.<br />

Designing shelters though intrinsically social<br />

yields to moral relevance.<br />

Did we choose Beauty?<br />

There is a joint liability, viable obligations.<br />

Our gaze can be so disengaged and violent<br />

in such need of repurposing.<br />

Our gazes, spectators of their own standpoint.<br />

We accommodate our limbs<br />

on the madieri*, and cover the masonry with<br />

waterproof clay and lime plaster<br />

stapling bones.<br />

Everything moves, every thing aches.<br />

* timber boards on which Venice’s buildings are<br />

accommodated<br />

Spoglie<br />

La città e questa solitudine<br />

architettura trovata delle cose<br />

niente ombre nella luce del nord.<br />

Gli abitanti scompaiono e allora<br />

le strutture fabbricate risiedono spoglie.<br />

Controparti astratte, possediamo<br />

l’estetica di materiali orientati all’utilità.<br />

Alcuni luoghi aprono profili causali<br />

estendono la semantica.<br />

La progettazione di ripari, intrinsecamente<br />

sociale si piega alla rilevanza morale.<br />

Abbiamo scelto la Bellezza?<br />

Esiste una responsabilità congiunta, obbligazioni<br />

fattibili.<br />

Il nostro sguardo può essere così distratto e violento<br />

così bisognoso di riqualificazione.<br />

I nostri sguardi, spettatori della propria<br />

posizione.<br />

Appoggiamo le membra<br />

sui madieri e copriamo la muratura<br />

con argilla resistente all’acqua e intonaco di<br />

calce<br />

graffettando le ossa.<br />

Ogni cosa si muove, ogni cosa fa male.<br />

Ilaria Boffa<br />

Italy<br />





POETRY<br />

The lost soul<br />

The dejected soul is trapped in the cage of my skeleton,<br />

I am unaware of the fact, how to set it free?<br />

Sometimes it seems our very own existence cost us a lot.<br />

The great burden on my shoulder,<br />

everyday, shatters me into miniscule fragments,<br />

I haven’t smiled so long the way I used to,<br />

My jovial soul is lost somewhere,<br />

I want to run as far as I can,<br />

beyond the galaxies,<br />

deep beneath the core of earth,<br />

I wish I could become air and get dissolved in it,<br />

or maybe a water droplet that just flows,<br />

I am inclined to become night sky, calm and composed,<br />

my heart is enclosed in a hard coat,<br />

the first rays of the sun cannot find their way in,<br />

standing at the verge of desolation,<br />

the optimist in me wants to abandon hope,<br />

the great legend in me can no longer stand<br />

the torments of thorns,<br />

because they bringing blood every second<br />

When I was penning down all the woe from the ink of my<br />

very own blood,<br />

someone whispered in my ear from the sky above,<br />

with every hardship there is ease,<br />

undoubtedly with every hardship there is ease,<br />

your Lord has not forsaken you<br />

nor has he become hateful of you,<br />

your Lord will give you so much that you will be pleased,<br />

because I am Al-Reman, the most compassionate.<br />

My eyes filled with tears,<br />

Those words were enough for my consolation,<br />

Not a single query in my heart was left to ask,<br />

I know, I know a day will come,<br />

When I’ll stand in sunshine,<br />

brave as a warrior,<br />

staunch as a mountain<br />

On that day the hard coat of my heart will break into flinders,<br />

the sunlight will fall upon it,<br />

and a new flower of hope, bliss and triumph<br />

will bloom from it,<br />

From where I fall, I’ll rise beyond it,<br />

On that day I’ll unchain the dejected soul and set it free,<br />

I will find my jovial soul,<br />

the lost Soul.<br />

Iraj Shariq,<br />

Karachi, Pakistan.<br />


All Change<br />

The coming and going of things,<br />

time altering itself, adjusting temperatures,<br />

refining seasonal light, making all the difference.<br />

A darker morning than the month before,<br />

Venus struggling in the lower atmosphere,<br />

the stars reassessing their previous stance,<br />

Planet Home circumnavigating the galactic rim,<br />

pulling us by the hand as if an untoward child.<br />

Sitting at the littoral edge of the world,<br />

summer packing it in,<br />

autumn shaking in the wings,<br />

alterations accruing at the cellular level,<br />

otherness replacing otherness on the big wheel<br />

and little I can do about it,<br />

ruination unenviable but always in fashion.<br />

Losing my grip to a false sense<br />

of accomplishment.<br />

An exasperating cavalcade of light<br />

and circumstance,<br />

youth fossilized, the middle ages genuflecting<br />

before a darker age approaching.<br />

When the last is first and nothing lasts.<br />

Where we make mansions of the ephemeral<br />

and a door closes for evermore,<br />

gravity’s top wobbling as you reach for the wine.<br />

The Earth running down. The light tiring.<br />

Bruce McRae<br />

Canada<br />


ALAN<br />

RANKLE<br />


Coming soon to <strong>Red</strong> <strong>Door</strong> Gallery:<br />

A solo exhibition by UK artist Alan Rankle<br />

Alan Rankle looks to the past in order to paint the future –<br />

and has done for two decades.<br />

As he has explained: ‘I wanted to relate ideas about<br />

historical, idealised, pastoral landscape in art to the grim<br />

reality of the environmental crisis that we are in… Considering<br />

the historical origins of the genre in relation to my own<br />

paintings, I wanted to convey the irony implicit in how the<br />

19th century Romantic movement, with its emphasis on the<br />

idyllic natural world of an imaginary past, was sponsored<br />

by people who, having made gigantic fortunes out of the<br />

Industrial Revolution by building their empires on the slave<br />

trade and the criminal use of the Enclosures Acts forcing<br />

the poor from their traditional peasant homes to work<br />

in their factories and mills, also laid the foundations of<br />

environmental pollution on a catastrophic scale’.<br />

So if his landscapes look corroded and polluted, that is to<br />

the rhetorical point – but they are beautiful, too - drawing us<br />

in to his argument, but also suggesting a recognition of the<br />

temptations that led us to where we are.<br />

by Paul Caray-Kent.<br />

Alan Rankle (b. 1952) UK<br />

@alanrankleprojects<br />








032<br />

Elizabeth Torres, also known as Madam<br />

Neverstop, is an artist with many irons<br />

in the fire. Originally from Colombia but<br />

now living and working in Copenhagen,<br />

Elizabeth is a poet, multimedia artist<br />

and translator, as well as director of <strong>Red</strong><br />

<strong>Door</strong> Gallery and <strong>Red</strong> <strong>Door</strong> Magazine,<br />

and initiator of the radio station Tremella<br />

Radio. For some time now, another project<br />

can be added to the long list: the Poetic<br />

Phonotheque (Det Poetiske Fonotek).<br />

The project came into being during<br />

the height of the Covid-19 epidemic,<br />

which, as we all know, was very stressful<br />

and imposed a lot of restrictions. With<br />

the pandemic came enforced isolation,<br />

boredom, idleness and the loss of<br />

opportunities for poets to perform and<br />

thus reach out to audiences.<br />

In an attempt to overcome these<br />

obstacles, Elizabeth came up with the idea<br />

of the Poetic Phonotheque. If we couldn’t<br />

meet physically, we had to communicate<br />

in a different way. This was done by<br />

harnessing the power of digital media,<br />

creating a multimedia platform where<br />

poets and visual artists could submit their<br />

work.<br />

The Poetic Phonotheque project was<br />

launched on 21 March 2020, which<br />

happens to be World Poetry Day. The<br />

project has evolved into a virtual library<br />

of international poetry. An ever-growing<br />

collection that now includes over 300<br />

audiovisual poems, performed by poets<br />

from all over the world and which can be<br />

seen and heard at:<br />

www.poeticphonotheque.com<br />

Contributing to the growth of the<br />

collection is very easy. For keen poets, all<br />

you have to do is turn on your computer<br />

and go to the aforementioned website,<br />

press ‘record’, read your poetry, give your<br />

name, click ‘send’ and voilà! you are part<br />

of the Poetic Phonotheque.<br />

Since 2021, it has been collaborating with<br />

Kulturhuset Islands Brygge, which also<br />

houses the collection, as does Kultivera<br />

in Tranås, but as the archive is digital,<br />

other cities can also use its material and<br />

host events such as exhibitions. The idea<br />

is that in the future it will be possible to<br />

hold local events showcasing poetry,<br />

screenings and books etc. The concept<br />

goes very well with poetry film festivals,<br />

as you could rotate the events between<br />

different festivals.<br />

In November 2021, Poetic Phonotheque,<br />

in cooperation with Kulturhuset Islands<br />

Brygge, organised the first international<br />

poetry film festival under the name<br />

“Nature & Culture”. It received 300<br />

entries from around the world, of which<br />

128 were selected and streamed on the<br />

website. In addition, two film screenings<br />

were organised at Kulturhuset Islands<br />

Brygge, followed by discussions and an<br />

art exhibition. The festival was promoted<br />

in Copenhagen’s largest newspaper and<br />

several directors, composers and poets<br />

attended the event.<br />

Article by: Frank Bergsten<br />

for Kultivera<br />

Photography by: Zarko Ivetic<br />

(Ilaria Boffa, Pablo Saborio and Extinction<br />

Rebellion Danmark during the festival)<br />

for Kulturhuset Islands Brygge<br />

Illustrations by Rikke Winkler Nilsson




034<br />

Rafael Villegas has embarked on a<br />

journey, an adventure, an expedition to<br />

marvelous coasts, a literary challenge<br />

that, in the end, has succeed perfectly,<br />

with excellent weather and just in<br />

time. From the inherited tradition of<br />

countless prominent authors of dealing<br />

with the circularity of time, and facing<br />

what’s arcane and unknown with the<br />

only help of their imagination and<br />

some written words that hide a tiny<br />

box of unreal gadgets, Villegas, thanks<br />

to the creation of the thirteen stories<br />

included in his book Apócrifa, has done<br />

what some considered unthinkable:<br />

he gave new life to a subject that has<br />

been overexposed since the birth of<br />

literature. He has, also, achieved this<br />

with a mastership that seems desired<br />

by a generation of writers who, it seems,<br />

have forgotten the certainty of the<br />

uncertain for the sake of a technological<br />

postmodernism, at times overwhelming.<br />

Regarding the difficulty that the this<br />

book’s subject merits, namely: the<br />

strange and the unknown; the mysteries<br />

that bind us (without we realizing it<br />

many a time) to each event, no matter<br />

how small or large, that has occurred<br />

throughout history; what’s resulted is<br />

justly compared to a discovery of an<br />

exotic and unexplored land, a new<br />

continent made of letters.<br />

In Apócrifa a handful of aspects that<br />

are not mutually exclusive coexist and<br />

serve each other, forming a new cluster<br />

with the sole purpose of defying the<br />

uncertain. Thus, we find the cosmic in it,<br />

the mystical, the historical, the magical,<br />

the mythological, the wonderful, the<br />

extinct, the imaginary and the scientific<br />

constantly working together to form<br />

some small concentric circles that, once<br />

linked sequentially, produce larger<br />

circles with their diameters rotating<br />

between them till the point of shaping a<br />

distinguishable circularity on the entire<br />

book. A fractal model present in each<br />

story, paragraph and written sentence.<br />

To find the sum of all these elements<br />

so beautifully placed and welded as a<br />

filigree that garnishes and, also, leads<br />

to reflection, is not an everyday event.<br />

About the, presumably, balanced<br />

mixture of imagination and historical<br />

rigor, Mexican writer Alberto Chimal<br />

says that “it contrasts what is true with<br />

what is possible, our hopes and fears<br />

with the direct impression of life.”<br />

Thus, the uncertain isn’t only common<br />

of the realm of death and of whatever<br />

lies beyond our existence, nor is<br />

exclusively a frequent part of darkness<br />

and decadence; the uncertain also<br />

inhabits within all living and breathing<br />

things, within the light and the wake of<br />

each wandering comet. Actually, the<br />

unknown rests a few inches beyond<br />

the limits of what we take for granted.<br />

And no matter how much we expand<br />

our knowledge, there will always be<br />

something unknown to us, something<br />

mystery that make us feel a Paleolithic<br />

fear, one that, as Chimal points out, it<br />

contrasts with all the impressions, direct<br />

or indirect, of life itself.<br />

In the absence of certainty of what the<br />

other really is, we invoke the infinite<br />

possibilities that literature has always<br />

suggested in our minds. The truth that<br />

it doesn’t really matter what we are,<br />

but all of the potentialities that we can<br />

be. Because literature ends that primal<br />

fear by marveling us and making us feel<br />

wonder. It multiplies what we imagine<br />

and makes us expect the unexpected<br />

and long for the uncertain.<br />

Apócrifa explores this myriad of<br />

possibilities. It plays with the uncertain<br />

as a child plays with a cup and ball<br />

toy that has worn out from fulfilling its<br />

mission once, and once again. And<br />

when we think that the trip has come<br />

to an end, Rafael Villegas surprises us<br />

once more, over and over and over. His<br />

success lays in the fact that he doesn’t<br />

reveals what the unknown really is, but<br />

rather forces us to embrace it and make

peace with it, and then reminds us<br />

that it’s also a part of our very nature.<br />

His, is mandala literature. It’s constant<br />

evolution with respect to a center and<br />

then implosion in the limits of what’s<br />

finite that induces everything to return<br />

and rebirth in the same constant<br />

evolution with respect to a center;<br />

recurrently, endlessly.<br />

Villegas uses the language meticulously<br />

to relate each story and, at the same<br />

time, he grants the same language its<br />

primary function of a symbol system in<br />

which each of these symbols possesses<br />

countless meanings.<br />

The sign representing each concept<br />

attributed to it and, simultaneously,<br />

opening to new interpretations that will<br />

depend only on who receives it. So, this<br />

being the case, for what matters that the<br />

definitions are not always what they are<br />

supposed to? And what’s the matter if,<br />

as Professor Q indicates in the book,<br />

being sick isn’t the same as not feeling<br />

well?<br />

The journey through Apócrifa is very<br />

vast and diverse, it almost seems to<br />

contain everything. The pilgrimage<br />

becomes an obligatory visit to a window<br />

display that shows, with the same rigor,<br />

hallucinations of black bears devouring<br />

men, Yakutia’s phenomena, islands<br />

where the world ends or earth cracks<br />

where it resuscitates, past lives, the last<br />

pages from a notebook found at a labor<br />

camp, long sentences served just for<br />

having told past stories in disobedience<br />

of the established metric laws,<br />

transmutations from solid to sublime<br />

states, imaginary friends, distant icy<br />

lands, false nuclear tests, filaments<br />

from the tree of all stories, etc., etc., etc.<br />

Rafael Villegas has made us part of his<br />

challenge. With this collection of stories<br />

he takes us into a Borges-like dream in<br />

where we dream a story about someone<br />

who thinks a story about the past.<br />

And then he claims that “no man is<br />

the owner of his dreams, only of the<br />

memories of those dreams.” Nothing to<br />

fear.<br />

In the universe of Apócrifa, a universe<br />

governed by the extreme circularity of<br />

infinite possibilities, only the memory of<br />

a dream is enough for us: it can be the<br />

memory of something that happened, or<br />

that never has, or that is about to, or that<br />

should’ve been but wasn’t. It’s enough<br />

for us to dream and then remember that<br />

dream; the rest is pure ambition and<br />

nothing else.<br />

To go far away isn’t even necessary<br />

to move from the place where we are,<br />

because maybe, with a bit of luck, we’ll<br />

end up dreaming about a journey, an<br />

adventure, an expedition to marvelous<br />

coasts, or a literary challenge that, in<br />

the end, has succeed perfectly, with<br />

excellent weather and just in time. As it<br />

has always been written.<br />

Mario Z Puglisi<br />

Mexico, 2021<br />

Apócrifa<br />

Rafael Villegas<br />

Paraíso Perdido Ed.,<br />

1st Edition (March, 2018)<br />

Mexico ISBN: 978-607-8512-41-6<br />


036<br />




038<br />

“A home is a familiar setting. It is a<br />

stage, a palimpsest, imbued with<br />

memories, which in turn inform our<br />

associations to it. My work aims to<br />

distort that vocabulary, to bring it<br />

to ruin, to push the narrative of the<br />

architectural uncanny in the creation<br />

of an uneasy space.”<br />

-Justin Penov.



People tend to zoom out when making art,<br />

creating imaginaries that take up great space,<br />

so as to explain the world around them. The<br />

opposite is true for the work of Justin Penov,<br />

originary from Ohio, who zooms in all the way<br />

to the guts of relationship dynamics, familiar<br />

memories and the quiet discomfort of time,<br />

exactly in that place within us that resembles<br />

the homes we no longer inhabit. These minute<br />

pieces in size are loud and stand strong as a<br />

social commentary and as time binding art.<br />

When moving one’s eyes through the details,<br />

the hours pass and we are transported to stories<br />

hidden deeply inside.<br />

Learn of the achievements his work has earned<br />

him, upcoming exhibitions and more at:<br />

www.justinpenov.com<br />

Follow on instagram: @justinpenov<br />


The <strong>Red</strong> <strong>Door</strong><br />

Network:<br />

042<br />

Litteraturcentrum KVU:<br />

Litteraturcentrum KVU is an international<br />

literary initiative we often promote as<br />

a league of publishers in Scandinavia.<br />

<strong>Red</strong> <strong>Door</strong> is published through this<br />

collaboration.<br />

Kultivera operates international cultural<br />

programs that are physical, social and<br />

creative; that stimulates and inspires both<br />

the artists and the local community. It is<br />

the organization in charge of the Tranås<br />

Fringe Festival and their curriculum of<br />

activities can be seen on the issues of the<br />

<strong>Red</strong> <strong>Door</strong> Magazine.<br />

Write4Word: Is a West Wales community<br />

organization with a focus on language<br />

arts. Its director, Dominic Williams, is a<br />

frequent correspondent of <strong>Red</strong> <strong>Door</strong>.<br />

La Libélula Vaga: is a spanish literary<br />

magazine published in Sweden<br />

documenting the work of poets all over the<br />

planet, as well as encouraging translations,<br />

talks and other collaborations.<br />

Keith FM: is a Berlin-based community<br />

radio. <strong>Red</strong> Transmissions Podcast airs<br />

on the 1st Thursday of each month at<br />

15, the 3rd Sunday of each month at 12,<br />

and the last Thursday of each month at<br />

3am (for the early birds or those in other<br />

timezones).<br />

Trafika Europe Research: seeks to help<br />

renew the role of literature in nudging<br />

along the European conversation<br />

in culture, This is done through a<br />

bookshop, a journal, and a radio, where<br />

<strong>Red</strong> Transmissions Podcast is also on<br />

rotation, as well as a selection of its poets<br />

/ musicians.<br />

<strong>Red</strong> <strong>Door</strong> Magazine is a quarterly Arts &<br />

Culture publication meant to document<br />

the work of creators everywhere, as well as<br />

facilitate new conversations on important<br />

matters for our communities in a local and<br />

international way, through the linking of<br />

themes, collaborations, interviews and<br />

hybrid events that can expand the reach<br />

of independent voices and remarkable<br />

projects. <strong>Red</strong> <strong>Door</strong> counts with the help of<br />

correspondents in Australia, Mexico, the<br />

US and Denmark.<br />

<strong>Red</strong> <strong>Door</strong> also functions as a gallery<br />

and independent space in order to serve<br />

as a platform for the same purposes. In<br />

expanding its reach, <strong>Red</strong> <strong>Door</strong> also counts<br />

with:<br />

-A podcast called the <strong>Red</strong> Transmissions,<br />

where creatives, activists and cultural<br />

organizers share their process, projects<br />

and initiatives.<br />

-We love radio so much we also have<br />

our very own, independent cultural radio<br />

station, called Tremella Radio, and you<br />

can have your show there too.<br />

-A Poetic Phonotheque, which serves as<br />

a multimedia collection of poetry in many<br />

languages in the voice of its authors,<br />

created to break the barriers of distance<br />

and facilitate free access to poetry in<br />

households around the world.<br />

-An independent print project called <strong>Red</strong><br />

Press, which focuses on the publication<br />

of poetry (and illustration) in translation.<br />

Bilingual books, handmade, limited<br />

edition books.<br />

-The <strong>Red</strong> <strong>Door</strong> Gallery located in<br />

the cultural hub of Copenhagen on<br />

Møllegade, Nørrebro, where talks,<br />

workshops, exhibitions, performances<br />

and other events are often on the calendar,<br />

as well as limited edition books and prints,<br />

original art, miniature books and other art<br />

related products, often with a focus on<br />

poetry. See them also on the online shop:<br />


There are beautiful things happening<br />

due to the collaborations, partnerships,<br />

ideas and new projects that arise from the<br />

conversations started in these pages and<br />

through the other <strong>Red</strong> <strong>Door</strong> initiatives,<br />

such as the podcast, which has already<br />

celebrated over 50 interviews, or the<br />

phonotheque, which counts with the<br />

voices of over 100 poets around the world...<br />

all of this, including the digital version of<br />

the magazine, are free to ensure access to<br />

information wherever you are in the planet.<br />

However, these projects are indeed time<br />

consuming and not free, especially since<br />

it is necessary to pay to remove the ads so<br />

that you are not distracted and can have<br />

a fully immersive artistic experience when<br />

enjoying this magazine and the RED DOOR<br />

website.<br />

As you might have imagined, COVID has<br />

not made it easier for this independent<br />

collection of projects to survive. The doors<br />

of the gallery have to close every time<br />

a lockdown is announced, postponing<br />

shows and limiting direct access to our<br />

audience. The rent of the gallery still<br />

needs to be paid, as all the other bills, and<br />

it is important to keep <strong>Red</strong> <strong>Door</strong> going so<br />

that there are these platforms and spaces<br />

available while we wait for better times but<br />

also once it is time to dance again.<br />

There’s costs for hosting and printing and<br />

domains and publishing... and for now,<br />

ONE certain way to show your support<br />

directly: PATREON.<br />

WIth a membership starting at 3 EU a<br />

month, yo too can ensure these projects<br />

keep existing. What’s more, now Patreon<br />

allows for one yearly payment, if you’re<br />

not into monthly fees. So, what do ya say?<br />

Wanna help keep making this happen?<br />

www.patreon.com/madamneverstop<br />

Patreon also allows for a one-time donation<br />

which will make you a patreon for a year,<br />

and you get to decide the amount.<br />

Eternal gratitude to the current patrons of<br />

this magazine: Valeria Schapira, Valentina<br />

Upegui, Juan Pablo Salas, Ulla Hansen,<br />

Michael Favala Goldman, Tamar Tkabladze,<br />

Sergio Guzman, Jaider Torres, Mikkel<br />

Vinther, Melissa Albers, Melanie Perry,<br />

Juditch Schaecther, Juana M. Ramos,<br />

Mambe&Danochilango, Dominique Storm,<br />

Devin Fairchild, David Miller, Crox Pow,<br />

Doktor Hansen, Aleisa Ribalta Guzman,<br />

Alan Pallais and you, who are reading this.<br />

Love and poetry always,<br />

Madam Neverstop<br />




WINTER 2021 - 22<br />

044<br />


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