Red Door 32

EDITORIAL 06 Red Door Gallery exhibits 08-09 SISTERS HOPE: Sensuous Society 10-16 RED PRESS: The Witnessing of Days 17-18 PERFECT BINDING BOOKFAIR 19-20 JIM STRAIGHT was here 21 ARTIVAL NORDIC FESTIVAL 22-23 IN THE EYE OF THE BEHOLDER 24-25 POETRY IN THIS ISSUE BY: Aleisa Ribalta Carolina Olguin Juana M. Ramos Negma Coy Liliana Isabel Velasquez 17-18 Scott LaMascus 24 Alison Lubar 26 Emelia Ruterfors 27 Glen Armstrong 28 Susan Harvey 29 FEATURED ART BY: Madeline Von Foerster 30-37 Tranås at the Fringe is turning 10! 38-41 Photography art by Carella Keil 42-45


Red Door Gallery exhibits 08-09

SISTERS HOPE: Sensuous Society 10-16

RED PRESS: The Witnessing of Days 17-18


JIM STRAIGHT was here 21



Aleisa Ribalta
Carolina Olguin
Juana M. Ramos
Negma Coy
Liliana Isabel Velasquez 17-18

Scott LaMascus 24

Alison Lubar 26

Emelia Ruterfors 27

Glen Armstrong 28

Susan Harvey 29

Madeline Von Foerster 30-37

Tranås at the Fringe
is turning 10! 38-41

Photography art by
Carella Keil 42-45


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RED DOOR <strong>32</strong><br />


SPRING 2023<br />



RED<br />



10-16<br />



42-45<br />





Mending Fences, or Lines on Watching<br />

the Evacuation of Kabul Airport,<br />

2021<br />

BY Scott LaMascus<br />

24-25<br />



FEATURED ARTIST OF ISSUE #<strong>32</strong><br />

30-37<br />


OF DAYS<br />



17-18<br />




38-41<br />


Founder & Director:<br />

Elizabeth Torres<br />

(Madam Neverstop)<br />

Poetry Editor:<br />

Pablo Saborío<br />

Correspondents:<br />

Melaine Knight<br />

The Neon Rebel<br />

Australia<br />

Brandon Davis,<br />

Germany / DK<br />

Mario Z.Puglisi<br />

Tanya Cosio<br />

Mexico<br />

Miller Almario<br />

<strong>Red</strong> Visions<br />

Colombia<br />

Kultivera<br />

Sweden<br />

Martin Andersen<br />

Denmark<br />

Cover & featured art by<br />

Madeline Von Foerster<br />


EDITORIAL 06<br />

<strong>Red</strong> <strong>Door</strong> Gallery exhibits 08-09<br />

SISTERS HOPE: Sensuous Society 10-16<br />

RED PRESS: The Witnessing of Days 17-18<br />





Aleisa Ribalta<br />

Carolina Olguin<br />

Juana M. Ramos<br />

Negma Coy<br />

Liliana Isabel Velasquez 17-18<br />

Scott LaMascus 24<br />

Alison Lubar 26<br />

Emelia Reuterfors 27<br />

Glen Armstrong 28<br />

Susan Harvey 29<br />


Madeline Von Foerster 30-37<br />

Tranås at the Fringe<br />

is turning 10! 38-41<br />

Photography art by<br />

Carella Keil 42-45<br />

JIM STRAIGHT was here 46-47<br />

RED DOOR MAGAZINE #<strong>32</strong><br />

Spring, 2023<br />

<strong>Red</strong> Press, Copenhagen<br />

ISBN: 978-87-94003-17-9<br />

www.reddoormagazine.com<br />

All rights reserved to the<br />

corresponding authors.<br />

04<br />

Before we begin, we interrupt to humbly ask you to<br />

give your support to <strong>Red</strong> <strong>Door</strong>’s activities. Please join<br />

our Patreon for a one time donation or a membership<br />

at an amount of your choice. With your help, <strong>Red</strong><br />

<strong>Door</strong> will remain independent and could keep thriving<br />

for years. We don’t run ads, and we never have.<br />

We rely on our readers for support. Yes, that means<br />

you. Thank you!



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

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

This includes multimedia art, artistic research, essays<br />

on projects, reports on festivals and activism, as well as<br />

relevant media articles and documentation of the activities<br />

by you and your network. The magazine always features<br />

a poetry selection, prose, and occasional interviews by<br />

established and emerging artists, plus relevant upcoming<br />

events. 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 />

but 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 questions to reddoorny@gmail.com<br />

________________________________________<br />

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

two pages, and we accept a maximum of 3 poems per<br />

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

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

biography of up to 5 lines about you. All this must be<br />

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

as .jpeg images in a resolution of 1080 x 1080 px or<br />

its equivalent in format so it can be used for print<br />

and hi-res for web. Please note we currently accept<br />

poetry submissions only via our submittable platform:<br />

https://redpress.submittable.com/submit<br />


(SUMMER 2023)<br />


05/26/2023<br />






Attempting to look at this page as the diaphragm<br />

that will focus the light into the messages meant<br />

to be highlighted in this issue, has turned more<br />

into an exercise of getting lost by the dances of<br />

light projected from a lake onto the surface of<br />

everything on a peaceful spring day. It might be<br />

because life in Denmark, or more honestly life<br />

back and forth through the Nordic countries,<br />

often means life from one eternal November to<br />

the next one, one endless winter touching toes<br />

with the one of the year that follows, and so on<br />

until the light returns, and bloom! Everything, so<br />

full of color, so full of life, so suddenly, that one<br />

easily forgets the steps it took to get here.<br />

The ripples of light on this that is <strong>Red</strong> <strong>Door</strong> are<br />

getting wider and stronger, as each year passes,<br />

thanks to the support, love, encouragement<br />

and constant upgrading done through the<br />

collaborations and partnerships with likeminded<br />

individuals in both Nordic region and<br />

overseas. All over the place, honestly, like my<br />

head right now, still rotating the disks of my lens<br />

to vary the intensity and shape of this reflection.<br />

I’m happy to report that it’s been busy. In<br />

Finland, for example, Kirjan Talo / Bokens Hus<br />

officially became a partner / headquarters for<br />

the Poetic Phonotheque, ensuring that we will<br />

be able to expand this international archive<br />

of multimedia poetry with the voices in their<br />

community and their actual support. There<br />

were also worldthreading events in Helsinki,<br />

through our new partner IMMART, with whom<br />

we’ve been co-organizing a series of multimedia<br />

events under that name, worldthreading, in<br />

Stockholm, Oslo, Copenhagen and Helsinki,<br />

along with a vast selection of other events<br />

under the festival name ARTIVAL.<br />

Then there is <strong>Red</strong> Thread, which this year<br />

turned one year old, an occassion which was<br />

celebrated through our second reunion of<br />

publishers, translators and cultural organizers,<br />

before heading out to PERFECT BINDING<br />

BOOKFAIR, a project done in collaboration<br />

with Husets Biograf and Huset for independent<br />

publishers, authors, and book fiends in our<br />

region, along with film screenings and poetry.<br />

<strong>Red</strong> Press too, has been sparkling, with 2<br />

artist books released this year, one theater<br />

conversations / performing arts workshop book<br />

and a poetry compilation of Latin American<br />

voices, done with the support of Creative Europe<br />

in the occasion of Versopolis’ Poetry Expo.<br />

It would be selfish of me not to mention that<br />

on a professional, personal level, the poetry<br />

has also been leading the way, with the<br />

recent award of the Ambroggio Prize from the<br />

Academy of American Poets to my book Loteria:<br />

Nocturnal Sweepstakes, which meant a US<br />

book tour in March, and the upcoming release<br />

of my poetry book Expediciones a la Region<br />

Furtiva coming out this spring with Valparaiso<br />

Ediciones in Spain... two great milestones as a<br />

poet, which hopefully will allow me to increase<br />

my audience, and by default the people that<br />

come to contact with <strong>Red</strong> <strong>Door</strong> and all of the<br />

activities and projects currently in action.<br />

“Everything is blooming most recklessly; if it<br />

were voices instead of colors, there would be<br />

an unbelievable shrieking into the heart of the<br />

night.”<br />

-Rainer Maria Rilke.<br />

There is poetry, dear friends, dear colleagues,<br />

dear collaborators, dear worldthreaders<br />

everywhere this magazine is reaching you...<br />

There is poetry and the spark of possibility,<br />

a chance to maybe connect our ideas and<br />

projects, an invitation to possibly collaborate<br />

together, an opportunity, no, a need, to do a<br />

poetic takeover of this world we inhabit and<br />

allow it to be as sensual, as honest, as brutal and<br />

as direct as the poetry in our hearts needs it to<br />

be. Of this I am now certain, although I am not<br />

sure of the direct steps to follow.<br />

Organisms and structures is the theme of this<br />

issue. Like the connections of all the systems in<br />

our body, I do not need to tell you of them... you<br />

already know they’re here.<br />

Love and poetry,<br />

Madam Neverstop.<br />




DAI/EMONS:<br />

<strong>Red</strong> <strong>Door</strong> is honored to welcome Monica Hee Eun’s exhibition of new work to <strong>Red</strong> <strong>Door</strong> Gallery, thanks to<br />

the support of Nørrebros Lokaludvalg. In this show, the artist presents her personal interpretation of dai/<br />

emons as ambiguous entities, merging the vicious seductive possessor with the guiding divine spirit.<br />

Opening May 13.<br />


We’re happy to welcome you to<br />

Vilma Leino’s photography series,<br />

a collection of self portraits that<br />

are colorful, deep, nostalgic and<br />

trippy all at once, just the way<br />

we like it, filling up our walls with<br />

dreamy imagery.<br />

Come out, come out, wherever<br />

you are, and have a welcome<br />

drink while you admire this beautiful<br />

display of artistic expressions.<br />

Opening days:<br />

June 23, 2023 from kl.16<br />

June 24, 2023 from kl.15<br />

The artist will be present. The<br />

show will remain until July 1st.<br />



An artist library of handmade<br />

book objects comes to <strong>Red</strong> <strong>Door</strong><br />

this August from Gothenburg.<br />

“To cope with the ever-changing<br />

(reality) I make everydayexpeditions<br />

of myself, of my<br />

surroundings. Expeditions<br />

that brings both joy and woe,<br />

always with me is my recordingdevice.<br />

The findings made, are<br />

woven together, as art is my way<br />

to navigate the unanswered<br />

questions. Via different mediums I<br />

create collages that correspond to<br />

the personal and beyond.”<br />

-Karl Larsson.<br />

Opening August 9<br />

at the gallery until<br />

August 12.<br />


ARTIST TALKS BY: Zara Asgher &<br />

Laura Hasanen<br />

The act of naming or assigning<br />

language to a body has the<br />

ability to mold it into particular<br />

shapes. Once a body is named,<br />

categorized, or identified, it<br />

carries the weight of performing<br />

particular roles and adhering<br />

to certain norms. These works<br />

will look at what happens when<br />

a body tries to (dis)identify, or<br />

distance itself from the language<br />

and categorization<br />

that has been assigned to it.<br />

Opening August 17.<br />



Nesting by Sisters Hope<br />

photo: I diana lindhardt<br />




012<br />

Sensuous Governing Sensuous City<br />

by Sisters Hope<br />

photo: I diana lindhardt


By: Madam Neverstop<br />

Sisters Hope is a highly acclaimed and awardwinning<br />

Copenhagen-based performance<br />

group and movement spearheading a<br />

whole new way of performance artwork<br />

inspiring generations to come. Sisters Hope<br />

was co-founded by ‘The Sisters’ Gry Worre<br />

Hallberg and Anna Lawaetz in 2007. Today<br />

the group unfolds as an international troupe<br />

of performers and creatives from various<br />

backgrounds led by artistic director Gry<br />

Worre Hallberg and executive director Nikolaj<br />

Friis Rasmussen.<br />

We recently had the opportunity of speaking<br />

to Gry Worre Hallberg at <strong>Red</strong> <strong>Door</strong> in<br />

Copenhagen to learn more about her artistic<br />

research, the learnings of immersing oneself<br />

so deeply in such an intrinsic project, and<br />

what she understands as a sensuous society.<br />

One can get an idea of the mysterious,<br />

sensuous, definitely artistic vibes and<br />

intentions of their project on social media, or<br />

visit their site to learn more of the why’s, the<br />

how’s and the threading that Sisters Hope has<br />

been poetically and beautifully evolving into<br />

through the years, not just as a Danish icon<br />

in Performing Arts, Activism and Education,<br />

but also as an international platform for<br />

collaboration, inspiration, research and<br />

documentation.<br />

Their work unfolds at the intersection of<br />

immersion, intervention, activism, research<br />

and pedagogy. In their large-scale durational<br />

performances they explore different aspects<br />

of what they call a Sensuous society –<br />

A potential new world arising from the<br />

post-economical and ecological crisis.<br />

In their on-going groundbreaking 5-year<br />

performance, Sisters Hope Home, they are<br />

introducing a whole new artistic paradigm<br />

that they term ‘Inhabitation’ stimulating<br />

ecologic connectedness and sustainable<br />

futures.<br />

Sisters Hope has also developed their own<br />

performance method – Sisters Performance<br />

Method – Sensuous Learning, which is<br />

the outset of the training of Sisters Hopes<br />

performers and which is taught widely at art<br />

schools and beyond.<br />

During her conversation at <strong>Red</strong> <strong>Door</strong> Gallery,<br />

Gry explained:<br />

“We (Anna Lawaetz and Gry Worre Hallberg)<br />

were exploring, and had been performing<br />

immersive performances for over 20 years,<br />

and wanted to see how to translate this into<br />

an educational, pedagogical method of<br />

democraticing the aesthetic, opening the<br />

sensuous and poetic aspects of life in areas<br />

of society also outside of the art institution...<br />

so we began that exploration together,<br />

primarily just intervining different contexts,<br />

like the national bank or the top of the Royal<br />

Theater, with small tea ceremonies... and then<br />

we did workshops for students in immerisve<br />

performance methods, and this led to the<br />

Sisters Academy because we were asked if<br />

we could expand what we were doing to an<br />

entire school, so we came up with ideas of<br />

how to explore what the school of a Sensuous<br />

Society would be like, and wrote the<br />

Sensuous Society Manifesto as a response to<br />

the financial crisis and the ongoing ecological<br />

crisis.<br />

Since we created Sisters Hope and started<br />

doing the last scale manifestations, we<br />

knew that we wanted to be research-based,<br />

and we had this idea of establishing an<br />

archive and collect empyric material, so from<br />

the beginning, participants in the worlds<br />

(because it is worlds we are creating now) of<br />

Sisters Hope, they donate notebooks, objects,<br />

totems, letters and traces to our archive, so it<br />

is an archive that doesn’t just have our input,<br />

but the input of thousands of participants,<br />

which you can enjoy while being immersed<br />

in the aesthetic experience... so from the<br />

beginning it was clear that the intersection of<br />

art and research was important to us.”<br />

Now, Sisters Hope is a physical space at<br />

Hedehusene in the outskirts of Copenhagen.<br />

Sisters Hope Home is 5-year-durational<br />

artwork and platform for artistic research.<br />

which invites for cohabitation, inhabitation<br />

and dishinibition of the senses through<br />

aesthetic activation and sensuous learning<br />

in communion with poetic atmosphere and<br />

international participants curious to learn<br />

how these sustainable futures come to life.<br />


014<br />

Nesting by Sisters Hope<br />

photo: I diana lindhardt

Nesting by Sisters Hope<br />

photo: I diana lindhardt<br />


016<br />

Sensuous Governing Sensuous City<br />

by Sisters Hope<br />

photo: I diana lindhardt



OF DAYS<br />

Created in Scandinavia during 2018,<br />

<strong>Red</strong> Press is an independent publishing<br />

project of <strong>Red</strong> <strong>Door</strong>, distributed as<br />

limited editions in Denmark and<br />

Sweden, as well as online to other parts<br />

of the planet.<br />

<strong>Red</strong> Press is a collection of publications<br />

of poetry in its varied spectrum of styles,<br />

subjects, voices and languages, by<br />

emerging or renown writers, with quality<br />

and uniqueness as the base criteria. We<br />

also publish visual art, and other poetic<br />

forms of expression.<br />

This spring, we celebrate the arrival of<br />

“The Witnessing of Days / El atestiguar<br />

de los dias”, a poetry collection of Latin<br />

American voices by:<br />

Carolina Olguín from México, Aleisa<br />

Ribalta from Cuba, Juana M. Ramos<br />

from El Salvador, Negma Coy from<br />

Guatemala and Liliana Isabel Velásquez<br />

from Colombia.<br />

Translated and illustrated by Elizabeth<br />

Torres for <strong>Red</strong> Press, Copenhagen,<br />

2023. Published with the support of<br />

Creative Europe as part of Versopolis’<br />

POETRY EXPO. The book was launched<br />

in NY, Washington DC, El Salvador, and<br />

in the Nordic countries.<br />

Poetry Expo is the world’s first digital fair<br />

completely dedicated to poetry, human<br />

creativity and literature, designed to<br />

showcase the achievements of different<br />

nations, cultures and languages,<br />

connecting artists from all around the<br />

globe, working towards a change both<br />

in art and society at large, while offering<br />

a space to present and share ideas with<br />

the global community.<br />

With this initiative, Versopolis aims to support<br />

co-operation and increase the visibility of poetry<br />

in public spaces by promoting innovative ways<br />

of achieving and disseminating progress,<br />

seeing human creativity as an important part of<br />

solutions, making a difference for society, the<br />

environment, or both.<br />

Get your copy at:<br />

www.reddoormagazine.com/shop<br />


The Colors of my Flag<br />

My huipil is my flag<br />

my Mayan language Kaqchikel is my flag<br />

my spirituality is my flag<br />

my weaving with threads is my flag<br />

my art is my flag<br />

the cholq’ij, the haab’ are my flag<br />

the milpa and the bean are my flag<br />

my books are my flag<br />

science and Mayan technology are my flag<br />

my nation and my people are my shield<br />

my strength is my heritage<br />

the word is the essence<br />

and my children are my freedom.<br />

Fruits<br />

No more fruits fall,<br />

says the emperor.<br />

I have cut down all the trees.<br />

I feed on the fallen fruits,<br />

says the poet.<br />

I name the trees.<br />

Liliana Isabel Velasquez (Colombia)<br />

Negma Coy (Guatemala)<br />

Petricor<br />

Yangtze Goddess<br />

An almost happy dolphin,<br />

lording among the willowy porpoises<br />

the fresh water of the Yangtze,<br />

the soft and lonely mud of her howl<br />

how tame the coetaneous pigs,<br />

the music flowing beneath their bellies,<br />

the grass that abundant yielded<br />

to all alike<br />

the sunsets in the river<br />

Their golden blue of panacea,<br />

the kingdom wide and long<br />

free from enemies<br />

Noting but their dreams poured there<br />

the young and languid matchmakers<br />

In search of their truest legend<br />

Tell us what happened to the goddess<br />

Who was never seen or imagined again<br />

Where does her frozen dream<br />

of heart beating in the veins<br />

of a gigantic country<br />

sleep tonight?<br />

Aleisa Ribalta (Cuba / Sweden)<br />

It already smells like wet earth, but it is not raining.<br />

It must have been a little cloud or perhaps a<br />

downpour.<br />

A pregnant woman suddenly feels like having a<br />

garden<br />

in the backyard<br />

and devouring the earth with her fists.<br />

Insomnia<br />

Carolina Olguin (Mexico)<br />

Woman who opened doors<br />

very confidently you walk<br />

across my chest,<br />

knowingly flirting<br />

with my distracted mouth<br />

and made night, you serpentine,<br />

you twine yourself in my insomnia<br />

you spin it around,<br />

you warn it from afar.<br />

Woman of every night<br />

in every excess<br />

you rise, palpitating<br />

dawns.<br />

Juana M. Ramos (El Salvador / US)<br />



<strong>Red</strong> <strong>Door</strong> gallery, Huset and Husets Biograf,<br />

recently hosted the first outsider bookfair in<br />

Copenhagen, taking place during the first week<br />

of April, 2023.<br />

The Perfect Binding Bookfair was created to<br />

cultivate a sense of community and dialog<br />

within the independent literary and book craft<br />

communities in Nordic countries and overseas,<br />

to establish a new synergy in the wake of recent<br />

setbacks like the Covid-19 and Brexit situations<br />

that created barriers leaving individuals and<br />

groups in this milieu more isolated. The project<br />

aims to connect and grow this community and<br />

inspire new collaborations and creations, to<br />

explore the possibilities for further projects and<br />

provide mutual support. It was a combination<br />

of live poetry readings, talks on the subjects of<br />

independent publishing, translating, writing<br />

and cultural organizing, and an ample collection<br />

of books presented by their bookshops or<br />

publishers themselves.<br />

Additionally as part of the program there<br />

were of course book signings and book<br />

releases accompanying the book fair, and the<br />

program was complimented with a series of<br />

film screenings and talks at Husets Biograf<br />

after each evening, which included short films<br />

by Martha Colburn, screenings and talks by<br />

Kenneth Anger and Lars Movin, and publishing<br />

talks by Jonas Ellerström, Ana Stanicevic and Pil<br />

Cappelen Smith, among others.<br />

The bookfair was an open invitation to book<br />

collectors, book publishers, literary fiends,<br />

authors, book makers and others in the outsiders<br />

book community to gather for a weekend of,<br />

first and foremost, sharing books, selling and<br />

collecting, talking about, listening to, and being<br />

part of, the universe of books that is outside of<br />

the commercial and generic.<br />

This event was organized thanks to the support<br />

of Nordisk Kulturfond.<br />

If you are a bookshop owner, independent book<br />

publisher, cultural organizer or author and could<br />

be interested in being part of a bookfair organizing<br />

committee for upcoming years, please contact<br />

reddoorcph@gmail.com<br />


RED DOOR: <strong>Red</strong> <strong>Door</strong> is an Arts & Culture quarterly<br />

magazine, a physical gallery, bookshop, and<br />

platform for cultural events in the Nordic region.<br />


Copenhagen’s oldest (and sexiest) underground<br />

cinema.<br />

HUSET:<br />

Huset is a co-creative cultural venue presenting<br />

live music, theatre and performance art.<br />


-<strong>Red</strong> Press (DK)<br />

-Storrs Antikvariat (DK)<br />

-Kultivera (SE)<br />

-Litteraturcentrum KVU (SE)<br />

-Ellerströms Tekst och Musik (SE)<br />

-Husets Biograf (DK)<br />

-Rönnells Editions (SE)<br />

-Rosetta versos (FI)<br />

-Cappelens Forslag (NO)<br />

-Kirjan Talo / Bokens Hus (FI)<br />

-Poesiens Hus (DK)<br />

-Book Lab (DK)<br />

-Lars Movin (DK)<br />

-Claus Høxbroe (DK)<br />

And speakers: Ana Stanicevic, Pli Cappelen<br />

Smith (Cappelens Forslag), Juha Kulmala (Kirjan<br />

Talo) and Lars Movin. Thanks to each of you for<br />

this unique experience.<br />




ARTIVAL:<br />


IMMART, the Danish non-profit organization<br />

behind community art dinners, network<br />

speed dating evenings, advocacy talks<br />

and other events in Copenhagen, recently<br />

approached <strong>Red</strong> <strong>Door</strong> with an exciting<br />

invitation. To become part of the curating<br />

organizers of Artival.<br />

But first, what is IMMART? Simply put,<br />

a network striving to reduce inequality<br />

in the art world. The y do so by seeking<br />

collaborations, to co-create opportunities<br />

for networking, for knowledge exchange,<br />

and for paid work in the arts and culture<br />

scene at home and abroad, no matter where<br />

you are from or what your cultural heritage<br />

is!<br />

Thanks to the funding received, the<br />

organizer of IMMART, Nicol Savinetti, and<br />

the organizing team behind ARTIVAL,<br />

have been partnering with organizations in<br />

the Nordic region to bring forth a series of<br />

happenings that together make ARTIVAL.<br />

ARTIVAL brings artists, cultural workers<br />

and organisations together in a sustainable<br />

manner to co-create and reflect on issues of<br />

inclusion and belonging through exhibitions,<br />

performances, talks, workshops and recitals.<br />

What this means for <strong>Red</strong> <strong>Door</strong>, of course,<br />

is an opportunity to do precisely what the<br />

festival’s slogan does - RE:CONNECT- by<br />

doing what we do best... worldthreading.<br />

And oh, how we have all enjoyed ourselves,<br />

doing what we love best, sharing with our<br />

audiences and strengthening cultural ties<br />

in our communities.<br />

In collaboration with Globe Art Point in<br />

Helsinki, Cappelens Forslag in Oslo and<br />

The Hallwyl Museum in Stockholm, through<br />

the spring <strong>Red</strong> <strong>Door</strong> has curated a series<br />

of multilingual, multicultural, multimedia<br />

poetry evenings called WORLDTHREADING,<br />

where we’ve been sharing with local and<br />

international audiences in each city the<br />

role of our organizations and our roles as<br />

cultural organizers, the services we provide<br />

and initiatives we push forward, but most<br />

importantly, what moves us.<br />

Through the worldthreading series,<br />

we’ve been doing evenings which are a<br />

combination of talks, screenings of films<br />

from the permanent collection of the<br />

Poetic Phonotheque, and live readings<br />

/ performances which combines local,<br />

national and international voices.<br />

We still have one more event of the<br />

worldthreading series this May 24th, and<br />

invite you to check out https://immart.dk/<br />

artival2023/ for the entire programming of<br />

this exciting festival.<br />

022<br />

Next page, from left to right:<br />

1. The Hallwyl Museum, Stockholm, Sweden, with<br />

Elizabeth Torres, Daniel Malpika and Makda Embaie.<br />

2. Nathalie Sallegren, Emma Leppo, Pablo Saborio<br />

and Daniel Malpica as part of Globe Art’s GAP ART<br />

SUMMIT NORDIC, representing the Union for Poetic<br />

Disobedience (Allience of Performing Arts), Turku’s<br />

Poetry Week, and <strong>Red</strong> Thread. Helsinki.<br />

3. The Hallwyl Museum’s very own program curator<br />

Azmara Nigusse reads translations of Daniel & Makda’s<br />

work as part of our Worldthreading evening in<br />

Stockholm.<br />

5 & 6: Agate Øksendal Kaupang, Bård Torgersen &<br />

Dario Fariello performing at the Worldthreading event<br />

in Oslo, at the wonderful Cappelens Forslag.<br />

Many thanks to all participants, collaborators and<br />

fellow organizers for these worldthreading times!




Mending Fences, or Lines on Watching the<br />

Evacuation of Kabul Airport, 2021<br />

“…wires, wires, wires….”<br />

Robert Frost<br />

The thing wants mending here lies along a bank<br />

with wires fallen slack amid the brambles<br />

between winding creek and dense wood,<br />

too tangled now to see the fencer’s scheme.<br />

The brush advances on the meadow year by year<br />

and sprouts up among old steel posts —<br />

every invention of poverty’s iron demand,<br />

a wrecked rod there, a small pipe here.<br />

Such fences do not speak to me today<br />

of failed discipline nor of narrowness,<br />

but of ingenuity, tenacity — of split-cedar<br />

posts and my pioneers before the Dust Bowl.<br />

Yet if that first fencer should step again<br />

from this wood of blackjack and post oaks<br />

where Grandpa died asleep against a tree,<br />

he would doff again his hat, lean his axe<br />

atop a boot’s toe, and take a swig or two<br />

from his glass jar of water. Then I<br />

might ask him how to say my peace<br />

about fences grown into angry tangles<br />

024<br />

Illustration by Martin Andersen.

through the briars and brush. Ends of<br />

wire stick out the ringed bark of massive oaks<br />

where he once wrapped the strand on a sapling<br />

to keep cows from bulls or boars from sows.<br />

As I work, I think, too, of cruel fences far and near,<br />

with walls topped by coils of razor wire, and<br />

see them still as if from drones. I can mend<br />

this old fence of ours no more than those —<br />

silly, I wish the nightmare away and build<br />

tidy fences to hold space for clean purposes<br />

or wall out dangers or clear some apartness<br />

for playground and garden, holy place and home.<br />

Desire obeys no such law of fences or their power<br />

and my friendly apparition does not linger here<br />

to help put things right, to cut old barbed wire,<br />

coil it, pile the brush or light the mute fire.<br />

Scott LaMascus is a writer, educator, and public-humanities advocate<br />

in Oklahoma City. His recent work may be found at <strong>Red</strong> Ogre, Bracken,<br />

Teleios, and Half + One.<br />


POETRY<br />

cosmic [colpos]copy<br />

She plucks a cluster of cells,<br />

from some [sacred room uncharted<br />

as Aristophanes’ other<br />

heavenly] bodies. A whole universe<br />

[of halves, and one of them<br />

gave me the need] for biopsy. Then<br />

scraping, pinch. Each sample sinks<br />

in plastic sealable cups for the lab,<br />

evidence will reveal [sickness or health,<br />

sinks to the bottom, like a tiny comet,<br />

a red tail smokes behind. This is] a loss.<br />

In seven to ten days, [I’ll hear<br />

if my body is eating itself.<br />

I hope I implode<br />

like] a star.<br />

Alison Lubar teaches high school English by day and yoga by night.<br />

Their work has been nominated for both the Pushcart & Best of the Net,<br />

and they’re the author four chapbooks.<br />


Stowaways<br />

the world shudders itself<br />

of us<br />

the fat louse tubing<br />

big blood to its head<br />

the ear’s firm helix<br />

scuttling<br />

a little floret<br />

in the greater scheme<br />

of things<br />

like crisis or cycloid<br />

tiny lives<br />

underfoot<br />

just puttering around<br />

(unnoticeable)<br />

the dandelions<br />

windborne sex<br />

appeals with fields<br />

meeting older fields<br />

with the tiniest of glances<br />

these dirt-shuttling flies<br />

nice and colonized<br />

singalong<br />

there are false dandelions, you know,<br />

hairy yellow<br />

and branched<br />

similarly spaced apart stowaways<br />

very quietly<br />

fitting in<br />

clumps.<br />

Emelia Reuterfors grew up in the Missouri Ozarks. Her work can be found in the Boston Review,<br />

Feminist Wire, The Gravity of the Thing and elsewhere. She currently lives and works in Kansas<br />

City as a therapist.<br />


POETRY<br />

The Bedside Book of Lemons<br />

Visualize a garden with lemon trees.<br />

Imagine the bees<br />

and their lemon-stained abdomens,<br />

coming and going<br />

like cargo ships.<br />

Imagine the little crew on one of those ships<br />

and their tall tales.<br />

One of them swears<br />

that the two trunkless<br />

legs of stone<br />

that Shelley wrote<br />

about are still there,<br />

and that between them<br />

lesser poets take turns<br />

telling readers<br />

what to imagine.<br />

Imagine that little scamp between two<br />

gigantic dusty trees.<br />

Show him no pity.<br />

Throw a lemon<br />

at him.<br />

Glen Armstrong (he/him) holds an MFA in English from the University of<br />

Massachusetts, Amherst and edits a poetry journal called Cruel Garters.<br />

His latest book is Night School: Selected Early Poems.<br />


Thick spring<br />

From dreams voluptuous with vines<br />

coiling, climbing, twisted stems,<br />

bursting nodes, clusters of flowers,<br />

myself of them, shoots issuing<br />

from eyes and mouth, fingers<br />

lengthening into green tendrils,<br />

I awaken into a tangle of birdsongs.<br />

Everything a turmoil of fertility<br />

on this first warm day. An angle<br />

of the sinking sun discloses air thick<br />

with silky spinners and tufted sails,<br />

among them the nearly unseeable<br />

fairy-wasps, freed from their pupae today,<br />

who will live a few more minutes,<br />

their filament wings backlit,<br />

circulating in dense commotion,<br />

but to my eye unhurried,<br />

each speck distinct<br />

on its glinting path, riding<br />

an invisible spinning eddy of air.<br />

I reach my hand into the fecund tumult—<br />

me too, I am suspended<br />

for the blink of an eye upon<br />

some unnamable vortex.<br />

Susan Harvey lives and works on a ranch in Northern California. Her poetry<br />

has appeared or is forthcoming in the Comstock Review, Naugatuk River<br />

Review, Plainsongs, and the Atlanta Review. She has been a Pushcart<br />

nominee, and her chapbook Colloquies was published by <strong>Red</strong> Bird Press<br />

in spring of 2022.<br />




030<br />





I make art for a future which perhaps will not exist.<br />

The destructive relationship of humanity to the natural<br />

world — the leitmotif of my art — is also the defining<br />

paradigm of our era, a fact which will become evermore<br />

apparent with time. I make art in conversation<br />

with potential future generations, to whom the<br />

omnicidal excesses of the present day will be all too<br />

relevant. In doing so, I plant seeds for a more sacralized,<br />

cooperative, and protective attitude towards nature in<br />

the present.<br />

The artworks could be described as “Past Modern,”<br />

favoring traditional techniques and media. Paintings<br />

are executed in the oil and egg tempera mische<br />

technique developed by the Flemish Masters. An<br />

aura of mystery and otherworldliness — inspired by<br />

various schools of Renaissance and post-Renaissance<br />

art — pervades the work. The images often use the<br />

framework of Wunderkammern – Enlightenment<br />

era “cabinets of curiosities,” where the wonders of<br />

nature were collected and displayed — to present<br />

the fragmentation and commodification of nature.<br />

Surrealistic elements also often occur, though in the<br />

service of meaning and metaphor, rather than for<br />

oddity’s sake.<br />

Meaning and beauty are the twin impulses expressed<br />

in the work, with neither sacrificed to the other.<br />

Concepts are developed and drafted in detail, often<br />

involving weeks of research and drawing for a single<br />

artwork. Flora and fauna, which appear in nearly every<br />

image, are rendered with reverence and exactitude.<br />

Photographic references are always interpolated<br />

through the filter of the artistic process, being drawn<br />

via eye alone -- never projected or traced -- which<br />

adds to a visual impression of timelessness.<br />

The artworks could be described as “living” stilllifes,<br />

which intentionally use the motifs of that genre<br />

to explore our assumptions about ownership and<br />

objectification of nature. But on a deeper level, they<br />

are visual altars for our imperiled natural world.<br />


www.madelinevonfoerster.com<br />

@madelinevonfoerster<br />







To create her unique paintings, Madeline von Foerster uses a five century-old mixed technique of<br />

oil and egg tempera, developed by the Flemish Renaissance Masters. Although linked stylistically to<br />

the past, her paintings are urgently relevant to the Anthropocene, exploring the human relationship<br />

to nature with such themes as deforestation, wildlife trafficking, and human-caused extinction.<br />

Von Foerster’s artworks are in public and private collections worldwide, including the Nevada<br />

Museum of Art, the Whatcom Museum, and the City Museum of Cologne. Her work has been featured<br />

in numerous publications, including “100 Painters of Tomorrow” (Thames and Hudson, 2014), and<br />

an eight-page feature in Germany’s “Art” Magazine. She was also the subject of a television portrait<br />

on ARTE’s “Metropolis,” broadcast in Germany and France. Born in San Francisco, von Foerster<br />

studied art in California, Germany and Austria. After fifteen years in New York City, she now resides<br />

in Germany.<br />






Tranås at the Fringe is a multidisciplinary<br />

arts festival in the small town of Tranås<br />

(Sweden), a charming place on the edge of<br />

lake Sommen, surrounded by the woodlands<br />

of Småland.<br />

For eight days, artists from Sweden and<br />

other countries from different disciplines in<br />

literature, film, and performing arts meet and<br />

put on about 100 events.<br />

As part of the Nordic Fringe Network, the<br />

festival combines an exquisite selection of<br />

film screenings, workshops, performances,<br />

live readings, exhibitions and other types of<br />

collaborations from artists who gather from<br />

all over Sweden, all over Scandinavia, and<br />

now that the borders have reopened, from all<br />

over the world.<br />

Due to the season being summer, it’s quite a<br />

beautiful experience to walk up and down the<br />

peaceful, blooming town of Tranås, enjoying<br />

the local shops and amenities, making a stop<br />

at the library and enjoying the sculptures and<br />

historic locations, while making your way<br />

from one happening to the next to take full<br />

advantage of what the festival has to offer.<br />

<strong>Red</strong> <strong>Door</strong> has been collaborating with Tranås<br />

at the Fringe through documentation on-site<br />

via the <strong>Red</strong> Transmissions podcast, where<br />

you can each year listen to several interviews<br />

of the guests and coordinators of the festival<br />

speaking about their favorite activities, the<br />

authors that moved them and what they’re<br />

most looking for each year.<br />

Due to our shared love for film, a selection<br />

of the poetry films screened as part of the<br />

festival also come to Copenhagen as part of<br />

our yearly poetry film festival. Additionally,<br />

<strong>Red</strong> <strong>Door</strong> helps with the curation of certain<br />

aspects of the program each year, and also<br />

provides this magazine as a platform for<br />

sharing the results of so many creative being<br />

coming together in one location to celebrate<br />

art, culture and community.<br />

This year, in celebration of the 10 years<br />

anniversary of Tranås at the Fringe, we are<br />

joining the party and hope you too can<br />

accompany us.<br />

Time to get your fringe on!<br />




www.atthefringe.org/<br />





Carella Keil is a writer and digital artit who splits her time between the<br />

ethereal world of dreams, and Toronto, Canada, depending on the<br />

weather. Her photography has appeared in Columbia Journal, Skyie<br />

Magazine, on the cover of Glassworks issue 26 and Colors Magazine:<br />

The blue issue, in Wrongdoing magazine Existere, Chestnut review,<br />

<strong>Door</strong> is a Jar and The Field Guide Poetry Magazine.<br />

@catalogue.of.dreams<br />

twitter.com/catalogofdream<br />

This collection of nature photographs for <strong>Red</strong> <strong>Door</strong>, ventures into a<br />

surreal world of vibrant colors and structures, a world that originates<br />

in the known and blooms in the imagination.<br />





RED DOOR<br />

Operations & Network:<br />

048<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<br />

well as facilitate new conversations on<br />

important matters for our communities<br />

in a local and international way, through<br />

the linking of themes, collaborations,<br />

interviews and hybrid events that can<br />

expand the reach of independent voices<br />

and remarkable projects. <strong>Red</strong> <strong>Door</strong><br />

counts with the help of correspondents<br />

in Australia, Mexico, the 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.<br />

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

counts with:<br />

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

Transmissions, where creatives,<br />

activists and cultural organizers share<br />

their process, projects and initiatives.<br />

-A Poetic Phonotheque, which serves<br />

as an online 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<br />

calendar, as well as limited edition<br />

books and prints, original art,<br />

miniature books and other art related<br />

products, often with a focus on poetry.<br />

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

www.reddoormagazine.com/shop<br />

The Partners:<br />

LITTERATURCENTRUM KVU is an international<br />

literary initiative we often promote as a league<br />

of publishers in Scandinavia. <strong>Red</strong> <strong>Door</strong> is<br />

published through this collaboration.<br />

KULTIVERA operates international<br />

cultural programs that are physical,<br />

social and creative; that stimulates and<br />

inspires both the artists and the local<br />

community. It is the organization in<br />

charge of the Tranås Fringe Festival and<br />

their curriculum of activities can be seen<br />

on the issues of the <strong>Red</strong> <strong>Door</strong> Magazine.<br />

WRITE4WORD Is a West Wales<br />

community organization with a focus<br />

on language arts. Its director, Dominic<br />

Williams, is a frequent correspondent of<br />

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

LA LIBELULA VAGA is a multilingual<br />

literary magazine published in<br />

Sweden documenting the work of<br />

poets all over the planet, as well as<br />

encouraging translations, talks and<br />

other collaborations.<br />

KEITH FM is a Berlin-based community<br />

radio.<br />

TRAFIKA EUROPE Research seeks<br />

to help renew the role of literature<br />

in nudging along the European<br />

conversation in culture, This is done<br />

through a bookshop, a journal, and a<br />

radio.<br />

IMMART works for the activation and<br />

inclusion of linguistically and culturally<br />

differentiated artists.<br />

KIRJAN TALO, the Finnish headquearters of<br />

the Poetic Phonotheque, are based in Turku<br />

and serve as a cultural space and association<br />

that promotes literary expressions.

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 70 interviews, or the<br />

phonotheque, which counts with the<br />

voices of over 500 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<br />

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

have a fully immersive artistic experience<br />

when enjoying this magazine and the<br />

RED DOOR website. There’s costs for<br />

hosting and printing and domains and<br />

publishing... and for now, ONE certain way<br />

to show your support 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 />

Eternal gratitude to the current patrons<br />

of this magazine: Nanda Arias, Maria<br />

Jose Nielsen, Andreas Frostholm, Malene<br />

Boeck Thorborg, Dharma Agustina Padron,<br />

Dominic Williams, Juan Pablo Salas,<br />

Michael Favala Goldman, Ulla Hansen,<br />

Sergio Guzman, Jaider Torres, Melissa<br />

Albers, Melanie Perry, Juana M. Ramos,<br />

David S.Miller, Crox Pow, Doktor Hansen,<br />

Valeria Schapira, and you,who are reading<br />

this.<br />

Love and poetry always,<br />

Madam Neverstop.<br />




SPRING 2023<br />


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