Red Door 34

RED DOOR 34
AUGMENTED DEMOCRACIES
FEATURING HAZEM HARB
WINTER 2023
REDDOORMAGAZINE.COM
01

RED
36-39
From Wales to the rest
of the world:
The poetic activism
of CORACLE Europe.
RED PRESS
PRESENTS:
NINTH MUTABLE
A poetry book by
Perrozompopo.
16-17
02
26-27
NATURE & CULTURE:
The 3rd edition of this
International Poetry
Film Festival just took
place digitally and in
Copenhagen.

40-41
TRANÅS AT THE
FRINGE celebrated its
10th anniversary
32-33
SOUTH.NORD:
Reclaiming
spaces
for Black
& Afro Nordic
voices.
The POETIC
PHONOTHEQUE
finally found
its poetry collecting
device...
and it makes
so much sense!
28-31
06-15
RED DOOR 34:
Celebrating the work
of Hazem Harb.
03

Founder & Director:
Elizabeth Torres
(Madam Neverstop)
www.madamneverstop.com
Poetry Editor:
Pablo Saborío
Correspondents:
Melaine Knight
The Neon Rebel
Australia
Tanya Cosio,
Mexico
Brandon Davis,
Germany / DK
Mario Z.Puglisi
Mexico
Miller Almario
Red Visions
Colombia
Kultivera
Sweden
Kirjan Talo
Finland
Cover & featured art by
Hazem Harb
TABLE OF CONTENTS:
Featured artist
Hazem Harb --------------------------------------- pgs. 06-15
NOVENO MUTABLE
NINTH MUTABLE
By Perrozompopo on Red Press -------- pgs. 16-17
POETRY submissions ------------------------ -pgs. 18-24
featuring:
John Peter Beck
Mukund Gnanadesikan
Chad W. Lutz
Zachary Cohn
Holly Payne-Strange
Charles Malone
Jeddie Sophronius
NATURE & CULTURE
International Poetry Film Fest ----------- pgs. 25-27
WHAT’S NEW in the
POETIC PHONOTHEQUE--- --------------- pgs. 28-31
STOCKHOLM:
SOUTH.NORD has arrived ------------------ pgs. 32-33
RED DOOR is turning 15!
BRAND NEW PATREON and
a SAVE THE DATE! ------------------------------ pgs. 34-35
CORACLE EUROPE ----------------------------- pg. 36-39
TRANÅS AT THE FRINGE
JUST TURNED 1O!
Here’s what that looked like --------------- pg. 40-41
THE NEON REBEL -------------------------------pgs. 42-47
RED DOOR MAGAZINE #34
WINTER 2023
Red Press, Copenhagen
ISBN: 978-87-94003-20-9
www.reddoormagazine.com
YOU ARE CORDIALLY INVITED
------------------------------------------------------------- pg. 48-49
All rights reserved to the
corresponding authors.
04

SUBMIT CONTENT to
RED DOOR MAGAZINE:
Red Door Magazine releases digital & printed issues
quarterly with an emphasis on visual art and poetry.
This includes multimedia art, artistic research, essays
on projects, reports on festivals and activism, as well
as relevant media articles and documentation of the
activities by you and your network.
The magazine always features a poetry selection, prose,
and occasional interviews by established and emerging
artists, plus relevant upcoming events. We’re here to give
you a handful of essential pieces you can digest in one
sitting.
We’re currently seeking visual art, music, film reviews,
travel and media articles, poetry, fiction, and creative
nonfiction. Simultaneous submissions are always ok,
but if you have a piece accepted elsewhere, please let
us know by adding a note to your submission; we’re not
aiming for exclusivity - but relevant, quality content.
Please send your questions to reddoorny@gmail.com
________________________________________
File specifications: Your article may be a maximum of
two pages, and we accept a maximum of 3 poems per
submission. All languages are welcome but please include
English translations. Also include a small biography of up
to 5 lines about you. All this must be included as .doc files
or PDF. All images must be attached as .jpeg images in
a resolution of 1080 x 1080 px or its equivalent in format
so it can be used for print and hi-res for web. Please note
we currently accept poetry submissions only via our
submittable platform:
https://redpress.submittable.com/submit
LEARN MORE AT:
WWW.REDDOORMAGAZINE.COM
GIVE YOUR SUPPORT:
WWW.PATREON.COM/REDDOOR
05

FROM THE DESK OF MADAM NEVERSTOP
EDITORIAL
Where is the poetry in a world that likes to breastfeed oppression?
High-pitched.
War is a high-pitched moan
that begins in the core
ofeveryone’s twisting stomachs during – what
dinner? – and the pebble stones,
outside, the crackling of normal life
and blood beginning to disgorge
from every orifice
bullet holes on every wall / on every mental
image of this and that place / on the concept of
harmony
until reality turns into a colander that only filters
truth and no longer can hold the bullshit
spewing from politicians’ frothy mouths and
lined pockets / let alone the news channel.
The basic needs of shelter and comfort / bread
and wine and good conscience remain
the inherited beliefs / the misconceptions / just
like the ancestors, a need for water and purpose,
love, even
and by default the taught concepts of territory
and identity as the thread that keeps it together
but this moan keeps growing / itching in the ears
and hearts of the brave whose hope allows them
the courage to do something about it
while the rest of us nod our heads
because we’ve taught our heart to remain silent.
Across the sea, the world will continue to have
winters and summers,
new years and recessions, reasons
to always want to take bites off other hands /
lands / what is it about humanity that makes it so
parasitic? unable
to see these testaments of life
claiming for their democratic right to exist
without the possessive rites of capitalism
pretending this moan hasn’t turned into a
deafening scream... which in no way silences it /
softens it / makes it go away
just creates accomplices
and a thick cloud of tear gas and dust that gets in
the lungs and the spirit.
06
I would keep telling you what I see
but as I poeticize about this monster that is
war, apartheid occurs in Palestine
tell me, where is the poetry in a world that likes to
watch as we, them, us, are killed?
Our words fled too
there are no poets safe from this
poetry cannot be heard under the helicopters
/ tanks / excuses / gunshots / explosions / lies /
automatic weapons / numbness of war
poets hate war / poets have no magic powers /
poets are paralyzed like everyone else because
they know what happens when they speak:
If they make it out of the rubble they end up
having to tell their stories hundreds of miles away
as I do now, in little red notebooks
with this same frustration / rage / blood boiling
for freedom and no tears left / just paths
of memory forever traced in empty hands
so I say raise your arms, my siblings, do not be
empty handed like the rest of us / the pain will
cease / the light will return
the only way to defy death is to live a life
worth its weight in poetry.
By consequence, Palestine, you are poetry,
you are eternal.
The world must hear your cries. It must. Won’t it?
Where is the poetry in a world that likes to watch
as we are extinguished?
High-pitched. War is a high-pitched illness
that first goes for them,
but always comes after
for us.
Elizabeth Torres
Copenhagen, May, 2021
Courage: /ˈkʌrɪdʒ/
noun
1. the ability to do something that frightens one;
bravery.
2. strength in the face of pain or grief.
Silence: /ˈsʌɪləns/
noun
1. Complete absence of sound.
verb
2. To prohibit or prevent from speaking.

07

08
FEATURED ARTIST

09

010
HAZEM HARB

Visual artist Hazem Harb’s trajectory,
spanning several decades, maintains
an unwavering dialogue with his
symbolically charged homeland.
Moving from Gaza to Rome to receive
his MFA at The European Institute of
Design, and then on to the UAE, Harb
has learnt to navigate life as a liminal.
Knowing that his place of origin
can never be just a ‘land’, the artist
unleashes an ever-evolving repertoire
of artistic techniques to negotiate a
space which has been carved up and
re-drawn many times. His art is at once
subsumed in deep locality, fuelled by
personal insight, and entangled in
conversations that cannot be easily
separated from the global arena. His
practice is intended more as visual
excavation than romanticisation of
the Other, and through it, we can
explore the paradoxical and pressured
relations between people and places.
Steering away from nostalgia and
the fetishisation of displacement, he
draws from academia, architecture,
as well as European art traditions, to
negotiate an axis of complex social
and cultural relations; built and natural
environments, longing and belonging.
Much like the artists of the early
twentieth century who, through the
deployment of collage, healed from
the trauma of the first world war
by binding together everyday and
artistic experiences; Harb succeeds in
materialising complex and unfamiliar
terrain. Operating as a researcher, by
collecting and synthesising archives
of rarified ephemera including
photographs, negatives and maps,
Harb mediates his materials in a
manner which dismantles them from
a static space. Through a process of
collage, layered down with geometric
precision, he stitches visual artefacts
together and forms fresh constructions
that invite unheard discourses and a
historical rethinking.
011

012

013

014

015

RED PRESS PRESENTS
Hay que sacarse el espanto,
desconfigurarse a uno
mismos, salir de todos,
totalmente de todos, arbitrarios,
escribirse y volver a escribirse,
dejarse caer
como gota de sangre sobre un papel
en blanco.
Esto no es poesía, son solo textos
que me definen
como la ciudad que soy
y todas sus infinitas posibilidades,
soy nada más un hombre satisfecho,
con cosas para entender, discernir, aceptar
o rechazar.
Y algo de ello
hacerlo mío.
Pero si no existe,
inventarlo para mí.
It is necessary to get rid of fear,
to deconfigure oneself,
to get out of everyone,
totally out of everyone, arbitrarily,
to write and rewrite oneself,
to let oneself fall
like a drop of blood on a blank paper.
This is not poetry,
these are only texts that define me
as the city that I am
and all its infinite possibilities,
I am just a satisfied man,
with things to understand, to discern,
to accept or to reject, and to make of this
something mine.
But if it doesn’t exist,
to invent it for myself.
-Perrozompopo.
The infinite path of the richness that abounds in Latin America, fertility that emanates not only in
nature and history, but also in our lyrics. The singer-songwriter who dedicates his life to being a
dreamer, poet, writer, singer.
Regardless of what he is called, he is a narrator of his own history, the narrative of his context, of the
period in which he lived.
The same one who describes love and its delusions by saying that “love is a bag of memories...love
is my structure, the word, the corners of your mouth the truth”.
Ramón Mejía, Perrozompopo, is an intrinsic lyricist and singer-songwriter, who not only protests
but also incriminates what is happening in Nicaragua, or rather Latin America, using the rhythmic
roots of his origin, without overlooking the ability to describe love in different universes.
Perrozompopo is Nicaraguan slang for “urban lizard”. Ninth Mutable is the evolution of the artist
around the world towards the center of his inspiration.
Andres Pineda
Musician, poet.
Noveno Mutable // Ninth Mutable
Released by Red Press in Denmark, Fall of 2023
016

017

POETRY
The Agoraphobe
Starved of solar fuel,
her dark-leafed jasmine
reserves its fragrant bloom.
Interred alive within four walls,
her silvern eyes
recoil from well-remembered spears
of a stranger’s acuminate glance.
Unpigmented and unexposed,
her alabaster skin clings
to its play structure
of bone and sinew.
Enclosed, she is protected
by a glutinous cocoon.
Recalling Icarus, she tucks downy wings away
shunning cold adventure in the clouds.
Mukund Gnanadesikan is the author of the 2020 novel Errors of Omission (Adelaide Books),
the 2023 children’s picture book Clarence and Elroy (Pen-It Publications) and the 2023 poetry
chapbook “Petit Morts: Meditations on Love and Death”, Finishing Line Press. When not
composing poetry and prose, he practices medicine in California.
018

Talking Myself Out of Urban Decay
city buildings scraping
the undersides of my eyelids
the woods just don’t contain
me like they used to
a Giant Eagle
a Costco
this is the real jungle
where a bloody baby
carriage isn’t the strangest
thing you see on W. 130th
towering sequoia used to be my sentient counselors
mountains used to be my topographical therapists
now I get excited
when the mail
arrives when it’s
supposed to because
it means new words in a world where
syllables only pass in angry looks from driver to driver
Chad W. Lutz is a speedy, bipolar writer born in Akron, Ohio, in 1986, and raised in the neighboring
suburb of Stow. Their first book, For the Time Being (2020), is currently available through J.New
Books. Other recent works appear in Haunted Waters Press, Drunk Monkeys, Half and One, and
Hunger Mountain Review.
019

POETRY
LAW
Lit windows full of eyes
Obsessive, yellow-edged.
A pen endlessly paces
On surfaces of Law.
Someone mourns his breasts.
Tall light drips out of houses.
He plays young painful music
And gnaws his inner lip.
A dome of fiery gold:
Beneath the dome a frown,
Beneath the frown a tongue
Chastising and correcting—
“Our forces are in muster
On endless fields of stars.”
Smiling, the seekers ride
In gaudy chariots.
The pen with a jolt like lightning
Batters a human form.
Their God despises His image.
Start again, clean.
Zachary Cohn is a poet and playwright. He lives in the New York
metropolitan area.
020

All of Us Enthralled
Waves of love
Rolling out from me
Cascading towards you
Flowing back
Hitting me in the chest
With such force it knocks me to the ground.
I know that what we have is unusual
The three of us.
Polyamory.
A heavy and unwieldy word.
Oddly scientific.
Belying the power and passion
Required for such an effort.
But not just that.
It takes a lot of communication
And an open mind.
An almost saintly level of trust
But how lucky am I, to have the two of you?
How profoundly worth it,
My wife, my beautiful, effervescent, darling wife
So utterly divine
And
My muse, so strong and capable, a wild masculinity
An irresistible flame.
I am sorry, that not everyone understands
That this is -often- a secret we have to keep.
That such beauty must stay hidden away
Like diamonds deep underground.
One day, things will be better.
One day, people will understand.
Holly Payne-Strange (She/her) She is the author of Strange And Twisted Things, a newly released
horror novel. Her poetry has appeared in Doro is jar Magazine and Curating Athena, among
others. She is also the creator of the podcast Echoes, starring Broadway Star Adam Pascal and
Emmy Award winner Jackée Harry.
021

POETRY
Build a Better World (for George Floyd)
We watched his last breath.
Words alone cannot solve this.
Breathe – prepare to act.
John Peter Beck is a professor in the labor education program at Michigan
State University where he co-directs a program that focuses on labor history
and the culture of the workplace, Our Daily Work/Our Daily Lives. His poetry has
been published in a number of journals including The Seattle Review, Another
Chicago Magazine, The Louisville Review and Passages North among others.
022

Some Definitions Courtesy of the Ohio Legislature
Charles Malone works with writers in the community around Kent, OH. He recently won the
Moonstone Arts Chapbook prize for his poems “After an Eclipse of Moths.” His full-length
collection “Working Hypothesis” is out with Finishing Line Press.
023

POETRY
Immigration Process
Sometimes my tongue fails
to separate one language
from the next: a word slips,
an accent forms, a sentence
stumbles into nothingness.
All of this a sign that the door
to my knowledge is torn
with the bullet holes
of memory. And my memory
falls as my knowledge
bleeds. My throat coughs
up a mist that covers
what I see, what I remember.
I dream less often every night
but when I do, it’s always not here.
Perhaps I’ve lived in between
borders for far too long—
my family and relatives
buried in one too many
countries. Like my ancestors,
I too have roamed the lands
to find my home. Someday,
I will find a place to call
my own.
Jeddie Sophronius is the author of Love & Sambal (The Word Works,
2024) and Blood·Letting. A Chinese-Indonesian writer from Jakarta, he
received his MFA from the University of Virginia, where he served as the
editor of Meridian. Their poems have appeared in The Cincinnati Review,
The Iowa Review, Prairie Schooner, and elsewhere.
024

025

Check out the not-often-seen behind the
scenes at Husets Biograf. Surrounded
by reels and posters of films, this little
corner above the cinema was the base
of control throughout our festival. Our
gratitude goes to the volunteers of
Husets Bio, and of course to Jack, for this
wonderful collaboration, and for 2 years
of a poetry film festival in the oldest,
prettiest independent cinema of CPH.
Canadian poet Patrick Horner not only
read from his wonderful new book
REFUGIA, but also served as a judge for
this year’s festival.
Pablo Saborio, poetry editor of Red
Door and judge for this year’s festival,
as well as charming co-host, introduces
Cuban poet Jorge Enrique Gonzalez
Pachecho, who traveled from Madrid to
share his poetry on stage, as well as the
film HAVANA, which was inspired by his
poem with the same name.
...I repeat, a poetry film festival in the
oldest, prettiest independent cinema of
Copenhagen.
026

Actor and director Ramadan Huseini
gave a talk about the film-making
process of PANT, a beautiful film that
brought us back to our city, speaking
of the struggles and daily lives of can
collectors living and working in the
streets of Copenhagen, their families,
and their dreams.
The scholar, poet and literary translator
Elzbieta Wojcik-Leese reads from her
own wriings, and welcomes the students
of her Creative Writing class at the
University of Copenhagen, who joined
us throughout the festival.
027

THE POETIC PHONOTHEQUE
LEAVE
YOUR
POEM
AFTER
THE
TONE.
The dream has always been, to have a type
of traveling device, which would allow for the
collection of poetry in the voice of its poets, wherever
a representative of the Poetic Phonotheque was
in movement, and for the rest of the time, for it to
be at the headquarters of the Phonotheque in its
respective countries.
The dream is now a reality. Look for the red
FONOTEK in Sweden, Finland and Copenhagen,
starting in 2024, and in all the events where the
Poetic Phonotheque is present... now all you gotta
do is pickup that handset, and leave your poem
after the tone.
028

NEW ADDITIONS TO THE PERMANENT ARCHIVE OF
THE POETIC PHONOTHEQUE:
POETRY FILMS
TIBAR
In the context of the Capitalocene, our
language ecosystems are being threatened
and meanings are disappearing, as well as
the illusionistic joints of a tribar.
Directed by Paul Burcia
Romania
THE CAT GOT HER TONGUE
What happens when women become
more isolated as they grow older? How do
they feel when they see the environment
around them ravaged, and their means of
resistance closed down?
Directed by Gaele Sobott
Australia
THE REVOLUTION WILL HAVE ITS SKY is
a cinepoem in one act; it takes place inside
a prison while a revolution is being waged
outside. The central question of the piece
centers on the place of pacifism in the face
of the oppressive brutality and injustice of
a cruel system, one which favors force over
words.
Maria Garcia Teutsch
Germany
GOD’S FAVOUR, ANNE
To celebrate the 400th anniversary of
the death of Anne Hathaway in summer
2023, this poem was commissioned for
publication by the Shakespeare Birthplace
Trust. The composite personality of the
faithful and apprehensive Anne references
a range of Shakespeare’s female characters
as well as Tudor Royalty .
Directed Suzie Hana
United Kingdom
029

THE POETIC PHONOTHEQUE
BUBBLE HAT
Through the lens of an outsider estranged
from urban life, ‘Bubble Hat’ is an evocative
poetry film that delves into the sense of
alienation birthed from the frantic hustle of
an automated, fast-paced culture. Directed
by Maryam Imogen Ghouth and Kama
Ranaulo, filmed by Zuhair Lokhandwala,
and written and narrated by Maryam Imogen
Ghouth, this collaborative piece was shot
between the City of Dubai and the Sulphate
trailhead in the United Arab Emirates.
BLAME THE FOX
A film inspired by Jane Lovell’s poem
Blame the Fox, a response to the everincreasing
extinctions among bird species.
This poem won first prize in the Rialto
Nature & Place Poetry Award 2022.
Directed by
Janet Lees
United Kingdom
A SALTY POEM
A short film of videopoetry based on “A
Salty Poem” by the Bulgarian poetess
Kamelia Kondova.
Director Damian Mihaylov
Bulgaria
SEE is about a boy who doesn’t feel well
in the dirty and poluted world around
him. He decides to jump on his bike. His
journey ends up in France, just like Vincent
van Gogh. Where he starts seeing the true
colors of Earth and starts painting on his
iPad.
Directed by
Johan Oudshoorn
Netherlands
030

WIND WHISPERER
At the end of the horizon a singing cicada
is born. Its flying is short, yet its chanting is
eternal.
Directed by Fernanda Caicedo
Ecuador
MACHI
Machi, which means ‘Fish’, follows a small
group from a Tharu household carrying out
their traditional practices 2 days before the
start of the Maghi festival. Unfortunately their
fishing expedition yields a very poor catch ,
reflected in the poem by Sangita Guruwa,
who describes how the once plentiful fish
stocks have now become scarce.
Directed by Eoghan McDonaugh
Nepal
UN/WRITE
An erasure poem that teeters on
obliteration, but ultimately veers back from
the brink to reclaim creativity, inspiration,
wonder and delight.
Directed by
Fiona Tinwei Lam, Lara Renaud
Canada
IT FELL
A video poem about exploring lines,
memory, repetition, word, and image, in
different ways, with snow as the main
character.
Directed by
Kevin McLellan
United States
SEE THESE POETRY FILMS AND
HUNDREDS MORE, AT
POETICPHONOTHEQUE.COM
031

SOUTH.NORD HAS ARRIVED
In their own words:
“Our goal is to tell our stories, from
our perspectives, in our way. We
do it for us and for the generations
to come. We strive to build
networks within the community
and facilitate exchange and
dialogue, reclaiming the past
while focusing on the future. We
aim to build bridges and work
in solidarity with artists from the
Global South and First Nation
peoples.
The Southnord team, much like
the community of artists and
curators of the African diasporan
in the Nordics, is a heterogenous
group. We value this diversity and
wealth of different backgrounds
and experiences. We cherish
the multiplicity of voices and
perspectives, and are constantly
working for an inclusive
environment.”
032
Morgon sång by Muriel Makhathini.

This October, in Stockholm, Southnord x Det Poetiske Fonotek
presented a poetry evening with a screening of a selection
of short poetry films at Klarabiografen, followed by a reading
on site. This was part of a greater curated series of events,
exhibition and publication to highlight the voices and work
of the artists, writers, filmmakers and activists of the African
diaspora residing in the Nordic region.
Below the list of selected contributions, Afro-Nordic artists, who
also joined us on stage to speak of their creative processes,
artistic messages, and the ways their work connects them to
their history, identity and community:
Deise Faria Nunes (NO) - SARA
Ehimwenma Idehen (UK) - Learn To Swim
Genet Solomon (SE) - Postminne
John-Paul Zaccarini (SE) - The Pass
Marque Gilmore (SE) - Liquid Stone Libations
Nasra (CA) - Shea
Nontokozo Tshabalala (SE) - Onde A Luta Termina (Where the
Struggle Ends)
Obaro Ejimiwe (UK) - Rumours on the Wind
Ondiso Madete (FI) - The Unfinished Story: Makena and Ondi
Sandy Harry Ceesay (SE) - Because/Unresolved
Ziggy Liukko-Allen (FI) - Water
Many thanks to Marcia Harvey Isaksson for the invitation, to
the directors, poets and artists who joined us, and to South.
Nord for this collaboration and wonderful event.
Visit www.southnord.com to learn more.
033

The Red Door
Network:
Red Door Magazine is a quarterly Arts &
Culture publication meant to document
the work of creators everywhere, as
well as facilitate new conversations on
important matters for our communities
in a local and international way, through
the linking of themes, collaborations,
interviews and hybrid events that can
expand the reach of independent voices
and remarkable projects. Red Door
counts with the help of correspondents
in Australia, Mexico, the US and Denmark.
Red Door also functions as a gallery
and independent space in order to serve
as a platform for the same purposes.
In expanding its reach, Red Door also
counts with:
-A podcast called the Red Transmissions,
where creatives, activists and cultural
organizers share their process, projects
and initiatives.
-A Poetic Phonotheque, which serves
as an online collection of poetry in many
languages in the voice of its authors, created
to break the barriers of distance and
facilitate free access to poetry in households
around the world.
-An independent print project called
Red Press, which focuses on the publication
of poetry (and illustration) in translation.
Bilingual books, handmade, limited
edition books.
-The Red Door Gallery located in the cultural
hub of Copenhagen on Møllegade,
Nørrebro, where talks, workshops, exhibitions,
performances and other events
are often on the calendar, as well as limited
edition books and prints, original
art, miniature books and other art related
products, often with a focus on poetry.
See them also on the online shop:
www.reddoormagazine.com/shop
The Partners:
Litteraturcentrum
KVU:
Litteraturcentrum KVU is an international
literary initiative we often promote as
a league of publishers in Scandinavia.
Red Door is published through this
collaboration.
Kultivera operates international cultural
programs that are physical, social and
creative; that stimulates and inspires both
the artists and the local community. It is
the organization in charge of the Tranås
Fringe Festival and their curriculum of
activities can be seen on the issues of
the Red Door Magazine.
Write4Word: Is a West Wales community
organization with a focus on language
arts. Its director, Dominic Williams, is a
frequent correspondent of Red Door.
La Libélula Vaga: is a spanish literary
magazine published in Sweden
documenting the work of poets all
over the planet, as well as encouraging
translations, talks and other
collaborations.
034

HEAR HEAR! In celebration of Red Door
Magazine’s 15 year anniversary coming up
in 2024, we’ve decided to launch a brand
new PATREON, exclusively for Red Door
related shenanigans.
Want to get a subscription of the
magazine to your door?
Easy peasy. Visit www.patreon.com/
reddoor and choose the tier to the left...
then just add your address.
Want to show your support of Red Door
events, festivals, publications and other
poetic endeavours?
Well, sign up to Patreon and show some
love!
Are you more of an entrepreneur, cultural
organizer or business owner, who’d like to
have Red Door as part of your repertoir?
We now offer a Magazine Distribution tier
level, with which you’ll receive not just the
magazines for you to sell, but also stickers,
books, and other goodies, to make your
shop look extra spiffy.
Red Door, in simple terms, is a love
project. A DiY magazine / gallery / umbrella
for other projects / platform for your voice...
We do not receive grants nor support from
any institutions, so it only makes sense to
ask you today to give your helping hand
and help keep this project going...
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035
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CORACLE EUROPE
036
It’s a very grey autumn afternoon and the
sunset is being hidden from the car’s wing
mirrors by driving Welsh rain. The motorway
is blurred by windscreen wipers as I head
towards the nation’s capital. Next to me in
the passenger seat sits Jonas Svensson,
Swedish artist, whose impatient long legs
are tucked up in the foot well. I have told
him he is welcome to smoke in the car, but
I can tell he is embarrassed to ask if it’s time
to roll another one or whether we should
pull over at another service station. I have
rare cause to travel from rural West Wales
where I live and work to Cardiff, but today it
is a journey to collect another Swedish artist,
Karl Larsson who is in the process of making
the 16-hour trek by plane, train, tube and
train with which I am very familiar because
of my own creative and cultural visits from
my Celtic home to Scandinavia.
We arrive at central station at 5pm just
as the city commuters are about to begin
building their snaking, emission spluttering
convoys up the south-east valleys into the
South Wales coalfield. Karl has already
disembarked and has found his way out of
the front of the station to the BBC building.
We are late. Jonas has finished hanging his
exhibition in Greenspace Gallery, but I am
still way behind with my preparations for the
festival that begins tomorrow. I have a zoom
meeting at 5pm, that AGM of the national
body Disability Arts Cymru and the carpark
is at the rear of the station. I give Jonas
rough directions as to how to get under the
black iron railway bridge that spans Penarth
Road adorned with the name ‘Brains Beers’
the city’s brewery and send him in search of
his fellow creative countryman.
The business of the AGM is dealt with
swiftly, agendas can be got through so
much quicker when the members are
online. As the rush hours traffic melts away
in the drizzling rain, Jonas and Karl sit on
suitcases between parked vehicles in the
dampness while I watch three excellent
performances by disabled artists on my
phone, propped landscape in front of a
redundant speedometer just behind the
steering wheel. Spoken word, dance and
music, all are powerful and inspirational.
With both my passengers on board we
resume the journey north up the Taff valley
towards Pontypridd a town dealing with the
painful transition and challenges following
colliery closures and deindustrialisation, At
the same time my friend, Steve, is waiting
at Cardiff International Airport for poets
Colm Kiernan and Magnus Grehn, they
have travelled from Sweden via Amsterdam
where their plane was delayed for 45
minutes. We are all making our way to meet
Rufus Mufasa, a literary activist who works
at, YMa a re-imagining of the Pontrypridd
YMCA building. When we arrive at YMa
I meet up with old friends with whom I
have performed together during outdoor
summer festivals and by the time the kickboxing
class has vacated the room in which
we are due to hold tonight’s cultural event
Steve, Colm and Magnus have also arrived.
Once Karl and Magnus have been reunited,
they become Två män i en dambob and
the evenings cultural collision is set on its
course.
***
I am director of the Coracle Europe Fringe,
an international arts festival that takes place
in West Wales. I was approached by Rufus
Mufasa to collaborate on a pre-festival
event in Pontypridd involving some of the
Swedish artists that has arrived on Wales a
day early for the festival. The event in YMa
on the evening on Wednesday 11 October
was one of the personal highlights of my
entire festival experience. The programme
included Welsh duo Bragod and Swedish
duo Två män i en dambob the juxtaposition
of two distinct musical genres, Welsh folk
and Swedish industrial post-punk, was
innovative and exciting. The ostensible
cultural clash of two experimental acts
in fact shared commonalities. Both were
contemporary interpretations of traditional
songs, in the Swedish instance 100 years
old and in the Welsh instance 900 years old.
These two significant performances were
complemented by a series of diverse
multilingual poetry readings. The complete
programme of the event was worthy of
presentation on the stage of an arts centre
in any major European city.

Just as important, if not more so, was the
outreach work that followed the event, the
musicians, writers and artists from Sweden
met socially at another local venue with the
grassroots performative creative community
of Pontypridd. During further sharing of
performance local people became aware of
and intrigued by the programme of creative
events taking place in YMa.
***
So it was, this slowly gathering troupe of
Welsh Irish and Swedish artists writers and
musicians found ourselves being finally
ushered out of Bar #12 at midnight after
a post-event assignation at a local openmic
night for singer songwriters. The
journey West was begun, to the setting for
the Coracle Europe Fringe. We arrived at
Glan y Fferi at 2 in the morning, the small
fishing village that is my home and was to
be the home of the group of performers
that would form the programme of the fiveday
international arts festival that hadn’t yet
even started, that was for tomorrow …
***
The Coracle Europe Fringe was an
international arts festival that took place in
west Wales between Thursday 12 October
2023 and Monday 16 October 2023. The
programme featured music, art literature
and performance. Hosted by write4word
the festival championed their values of
inclusivity and internationalism. The festival
was in a hybrid format. All events were
in-person with many live-streamed on
YouTube and participatory events such as
a poetry slam and open-mic taking place
over zoom as well as in the physical venues.
Some events also had simultaneous BSL
sign interpretation. Venues include Cwrw,
Goldstone Books, Tea Traders, Cellar Bar,
Calon y Fferi, Greenspace gallery. Through
its hybrid nature the festival provided a
global platform for local and Welsh artists as
well as welcoming a cohort of international
performers to west Wales. The festival
particularly celebrated the established
cultural links write4word has with Sweden
and Ireland. The festival featured 4
workshops, an art exhibition, three spoken
word open-mics, a poetry slam, three live
bands, 4 reading events (with 21 poets) a
performance lecture and a literary walk.
037

038
CORACLE EUROPE

039

040
TRANÅS AT THE FRINGE

From 1 July to 8 July 2023, Tranås at the Fringe was
held for the tenth year and this year it was bigger than
ever with 151 events on 7 stages with performers
from 28 countries. A special treat for the audience
this year was the Mycelium festival that kicked off
on Friday, the day before the official opening of the
festival. The organisers were young Ukrainian artists
living in Sweden on crisis residency. Mycelium went
on for three days under the open sky and included
music, dance, performances, exhibitions and much
more. A festival within a festival, so to speak.
As for the main festival itself, the Fringe offered, as
usual, a wide variety of events. There was the film
section of the festival, with 10 screenings including
48 experimental short films. There were more than
60 poets doing everything from performing on stage
to launching books. For a week the festival offered
a multitude of events spanning the entire artistic
spectrum; literature, film, theatre, performing arts,
exhibitions, dance and music. The audience could
walk between the stages, choosing everything from
quiet haiku to noisy industrial music. Maybe listen to
a writer’s talk, watch performances, browse books
at the micro publishers book fair or take part in a
workshop.
Three publishers hosted separate events where
poets from each publisher performed; Fri Press,
Trombone and Magnus Grehn Förlag. The dance
company COMPASS held several events aimed at
young dancers. There are so many more to mention
but it’s impossible to list all the events. However,
one could argue that the festival had something for
everyone. For instance, how many art festivals end
with a sold-out punk gig? Talk about going out with a
bang. Tranås at the Fringe 2023 was a huge success.
See ya next year!
-The people of Tranås at the Fringe
041

THE NEON REBEL
ANCIENT VOICES VS THE VOICE
AUSTRALIA
On October 14, 2023 Australians were asked
to vote in a referendum whether they support
changing the Australian Constitution to
recognise Aboriginal and Torres Strait Islander
peoples as the First Peoples of Australia through
an Aboriginal and Torres Strait Islander Voice
(Voice).
The Voice was proposed to be an enduring
institution to ensure that Aboriginal and Torres
Strait Islander peoples can make representations
to the Commonwealth Parliament and the
Executive Government of the Commonwealth
on matters that relate to them, improving the
development and implementation of laws and
policies.
The Voice is also the first part of a deeper
commitment made by recent Government,
much of which is why they were elected, that
they would implement the Uluru Statement
From The Heart …
The Uluru Statement From The Heart … has 3
parts to action … Voice ~ Treaty ~ Truth Telling ~
~ to recognise Aboriginal and Torres Strait
Islander peoples as the First Peoples of Australia
~ to provide for the establishment of a new
constitutional entity called the Aboriginal and
Torres Strait Islander Voice
~ to set out the core representation-making
function of the Voice; and
~ to confer upon the Parliament legislative
power to make laws with respect to matters
relating to the Voice, including its composition,
functions, powers and procedures.
ABSOLUTELY GREAT!!
However … The Voice is advisory body only. It
has no power.
“The constitutional amendment confers no
power on the Voice to prevent, delay or veto
decisions of the Parliament or the Executive
Government.
The constitutional amendment would not oblige
the Parliament or the Executive Government to
consult the Voice prior to enacting, amending
or repealing any law, making a decision, or
taking any other action.” (General purpose
of Bill https://www.legislation.gov.au/Details/
C2023B00060/Explanatory%20Memorandum/
Text)
So … Im asking why does the Government need
this Voice to enshrine recognition of Aboriginal
+ First Nations people in the Constitution? Is it
not a given? Should this recognition not be a
stand alone bill regardless??
As it is too long to unpack in this article, You can
read the full statement here …
https://ulurustatement.org/the-statement/viewthe-statement/
The proposed parliamentary bill proposed a
new section of The Constitution to be named
‘Recognition Of Aboriginal And Torres Strait
Islander Voice’ added at the end of the existing
chapters.
The section to be titled ‘Aboriginal And Torres
Strait Islander Voice’ would have 4 key points …
042
Why only recognition aside with this new
proposed voice with no power attached,
which frankly we have already had advisory
committees before without any power.
It doesnt make sense loading 2 separate issues
together into one huge question requiring a Yes
or No answer.
Certainly without the truth telling …
Setting the history straight. Most Australians still
dont know the true history, school curriculums
have never included it.
The main question I was pondering in this Neon
Rebellion is …

Is The Voice as its being presented right now,
the vehicle in which we will see the way forward
for the fundamental changes needed for the
recognition + welfare of First Nations People to
be implemented?
Many Australians seem generally in favour
of recognising Aboriginal + Torres Straight
Islander People as the original owners +
custodians of this country. The polls have
shown that many people were will ing to
recognise Aboriginal people in the constitution
but the Voice itself was too vague.
There is much skepticism in Aboriginal
communities based on history, as to whether
the Government actually has their best interests
at heart + rightly so … There really was no
outline how we could see reparations for the
injustices they endured + see the quality of life
for our First nations elevated + improved so that
they may move towards self determination.
“More now than ever the Black Advocacy being
able to be shared via all media is at the most
powerful moment in history.
The people that have the most power are those
that have proximity to power + Government or
money. For better or worse,
Community + mob at grass roots level need
representation + a platform with strong speakers
… Whether the Voice is the right model, that is
what lies before us ...” (Larisa Baldwin – Roberts,
CEO GetUP)
There’s a reluctancy even within well educated
Indigenous advocacy groups + most certainly
among the Blak Sovereignty mob, so how are
the public supposed to engage with all the
mixed messaging clearly?
The referendum votes came in a resounding
NO vote.
The Voice was not successfully passed in the
referendum …
So will this Government, so committed to the
Yes campaign + its results still be willing to pass
legislations necessary for change anyway?
These are reasons people were hesitant though
+ the polls were overwhelmingly unfavourable
for the Yes campaign, both in overall majority +
majority of states, which were both needed for
this referendum to pass.
Looking back at the 3 parts of The Uluru
Statement From The Heart, our Prime Minister
has not mentioned “Treaty” + has adamantly
steered away from it. Red Flag.
There has also been no truth -telling.
The integral part of Australians understanding
the horrific history + coming to terms with the
inherent racism in the culture.
The Govt. was advised by current Aboriginal
members of Parliament + other Aboriginal
advisory groups, that this step needs to be
done thoroughly before we are going to be
able to truly recognise Aboriginal people in the
constitution.
To be honest, I find it incredibly problematic
non- Aboriginal people have any right to vote
on the future of Aboriginal or Torres Straight
Islander people. It’s their business.
At least this question could have been asked of
the 3% (just Aboriginal population) first.
Back in 1967, Australians voted
overwhelmingly to amend the Constitution
to allow the Commonwealth to make laws for
Aboriginal+ Torres Straight Islander people and
include them in the Census of Population and
Housing conducted by the Australian Bureau of
Statistics, commencing with the 1971 Census.
More than 50 years have passed + there are
some glaring echoes in what’s happening
today some history ...
043

1967 : Millions of Australians endorsed these
amendments, in the highest ever vote in our
history, believing them to be a step towards
ending the decades of political and social
discrimination imposed on Aboriginal people.
People with good intentions hoping that justice
+ fairness would be given to our First Nations
People.
1972 : The Whitlam Era Government promises
“It’s time” in their election campaign.
They create the first Department of Aboriginal
Affairs (DAA), set up a land rights commission,
and froze uranium mining in the Northern
Territory.
1975 : NT Land Rights Act was legislated
through Parliament. The laws set a benchmark.
1982 : Susan Ryan Shadow Indigenous Affairs
Minister promises an elected Hawke Govt. would
introduce a national land rights legislation.
1983: Hawke Govt. Aboriginal Affairs Minister
Clyde Holding promised that the views of
Aboriginal people would be at the heart of the
land rights process. His land rights steering
committee included the Chair and Deputy
of the National Aboriginal Conference (NAC)
and its six state and territory representatives,
the Northern and Central Land Councils, and
Charles Perkins, the Aboriginal Chair of the
Aboriginal Development Commission (ADC).
Dec 1983 Holding told parliament that the
support of NAC, which he described as a
“democratically elected black parliament”
would be obtained before any legislation was
brought to parliament.
1984. Draft land rights legislation was so weak
that it had no support from any Aboriginal
organisations.
No national law was preferable to what Hawke
was proposing. The laws explicitly rejected
the demands of Aboriginal people. Crown
land would not automatically be claimable
as Aboriginal land. National Parks wouldn’t
become Aboriginal land without “prima-facie
evidence of traditional attachment”, and there
would be no compensation for lost land.
A hard-line racist campaign against land rights
was being run by the peak mining body, the
Australian Mining Industry Council (AMIC),
supported by the Western Australian Labor
government.
Hawke tried to justify the terrible watered down
promises by saying it only exacerbated the
racist fear-mongering campaign by the mining
industry.
1987 : In response to the actual betrayal
of promises, Hawke talks of “national
reconciliation.”
He also disbands many of the Aboriginal
organisations that opposed his weak land rights
sell outs.
He moved to finish the DAA and the Aboriginal
Development Council (ADC) + moved to create a
new body—the Aboriginal Torres Strait Islander
Commission (ATSIC).
1989 : The ATSIC, which was almost powerless
was opposed when Paul Keating (the new PM)
moved to undermine it by setting up the rival
Office of Indigenous Affairs within his Prime
Ministers and Cabinet Department.
1991 : The Council for Aboriginal Reconciliation
is launched.
ATSIC attempted to ensure that a Treaty was at
the heart of the Reconciliation process.
Hawke + Keating move to push “reconciliation
process rather than treaty.”
1992 : Mabo case. The High Court ends the lie
of ‘terra nullius’ (an empty land). It recognises
Eddie Mabo’s land ownership.
As well as recognising native title, the court
also recognised the Australian government’s
sovereignty. Native title was extinguished by
freehold title and limited by the grant of other
forms of leases.
1993: Hawke + Keating move to push
“reconciliation process rather than treaty.”
1993 : Native Title Act propels the Land Rights
Movement.
044

It pointed at the very legitimacy of Australian
capitalism and its foundations of genocide
and dispossession. At its height the Land
Rights movement fought for land as an act of
recognition of prior ownership and of the wrongs
inflicted on Aboriginal communities. Some
thought land rights could provide the basis for
economic development that the Australian state
had denied them.
Keating’s laws entrenched the property rights
of companies over stolen Aboriginal land. It
offers the weakest form of recognition for the
tiny percentage of Aboriginal people who can
prove an unbroken connection with a particular
piece of land. While a mining company might
have to negotiate over access and royalties,
native title holders have no right to determine
what happens on land they “own”. (https://
solidarity.net.au/mag/back/2010/21/hawkekeating-and-aboriginal-rights-labors-sorryhistory/
2008 : By now the ATSIC has gone + a national
“sorry” campaign from the new Govt. has
started.
But within that, there has still been no
reparations for Aboriginal people or stolen
lands honoured or returned.
Chronic unemployment, inadequate housing,
health, education and other basic services are
still not met, and ongoing police brutality and
deaths in custody + injustices served,
with the presiding Parliamentary system +
Australian Governance under the constitution,
laid down by The Commonwealth, remaining in
place. (cite wsws.org/en/articles)
2023 : We are still here.
Inquiries into all the same issues are all still
current + yet Australia still cant seem to just
recognise Aboriginal + Torres Strait Islander
people in the Constitution without it being
attached to a conditional powerless voice or
group elected by the Government that by law
they do not have to take any notice of.
You get the gist.
So many people advocating for Yes really
believed it would bring change.
The polls since have shown that the most
percentage of Yes voters came from middle
came from middle class if not affluent
backgrounds, while the working class
struggling tended to vote no.
There is an overriding feeling that voting
yes alleviates a sense of guilt over benefits of
privilege + entitlement for those in the middle
class.
Change is overdue + people should feel a
sense of responsibility.
However, The constitution is still a part of a
brutal capitalist system built on colonising
this country.
Many indigenous mob do not want to be part
of that system, they want acknowledgment
of their own laws + customs as the sovereign
way.
They want Treaty.
A treaty is a binding agreement between two
or more states or sovereign powers. It is usually
reached after a period of negotiation. Australia
is the only major Commonwealth country
(referring to British settler colonial countries)
in the world that does not have a treaty with its
First Nations peoples.
Meanwhile … theres’ also the fact that the
Yes campaign, is bankrolled by multinational
corporate big businesses, like Qantas, BHP,
Telstra, Wesfarmers, Coles + Woolworths &
mining company, Rio Tinto, along with banks
ANZ, Westpac, CBA + NBA (who fund said
mining operations + seek to greenwash their
profiles whilst aligning themselves further
with the Govt.s military operations, even at the
protests of their shareholders.)
Even though Rio Tinto has a strict policy they
do not donate to political parties.
Red flag.
There is also the $17 million pledge to support
the Yes campaign from 20 of Australia’s richest
philanthropists and family foundations, such
as Besen Foundation, Jo Horgan’s Mecca M
Power, the Nelson Meers Foundation, the Lord
Mayor’s Charitable Foundation ...
The Business Council Of Australia has said
“the Voice will facilitate ongoing dialogue and
opportunity between Indigenous Australians
and business.
045

They understand how this will enhance the
unlocking of potential and material economic
benefit for Indigenous Australians and our
nation as a whole.”
So im wondering ...
‘What interests has a mining company in the
daily living conditions of Aboriginal people
living remotely in poverty without healthcare
or education suffering dispossession of their
lands + tribal traditions?”
None.
The Australian capitalist system supported by
the Constitution, parliament itself and the armed
forces have none of those concerns. It is built on
private ownership of land and resources, profit
and production. Facts.
Those that benefit from this regime are those
that comply with laws set down by the system.
This fundamental contradiction waves every
red flag.
I absolutely see why many of our First Nations
people are saying No to The Voice.
All the history, current conditions + proposed
ideas are dubious at best.
So that statistic on the Yes campaign that 80%
of Aboriginal people want the Voice. Hardly
representing mob all over.
There are 755 communities alone just in NT.
People out in remote communities in the desert
need face to face contact to understand whats
going on.
Many people cant read english + dont have
access to internet.
The feeling in many remote communities was
the campaigns are directed at primarily white
middle class voters.
Evidently information is not reaching grass
roots levels + communities on the ground.
I did speak to an old wise Uncle who’d learnt
to transverse across cultures, he had the best
advice when I asked him about what he thought
…
He said … “ it doesn’t matter yes or no, change
is here …
Even if it takes another generation.
The world has been here for millions of years,
this blink in time is nothing.
You have to zoom out and see things in a
bigger way ”
The difference from any past idea would be
the Voice would be a body made entirely
of Indigenous Aboriginal / Torres Straight
Islanders independently representing
+ advising on issues, enshrined in the
constitution that would take a referendum
to dismantle it, + not be subject to changing
Governments.
I recently worked on a film job in the Northern
Territory, it was very timely I got to go to the Top
End now, I felt so lucky I got to go + I wanted to
see for myself, right now how things are.
I wanted to was ask mob personally about their
experience (respectfully, if they were open) +
what they thought about The Voice + hear them
first hand.
Honestly, no one I spoke to knew anything
about it.
I heard + saw story after story of hardship + of
people who felt shat on + lied to over and over
by our Government + the system that is not their
friend.
Playing the long game Uncle.
Transcending the rival binary of a system that
neither supports nor encourages.
Just listening to the heart.
Listening...
The key to it all.
Very wise indeed.
People living in such hard conditions are just
looking to feed themselves each day.
046

Whilst the No vote underlines a horrible
undertone of racism that still pervades the
Australian culture, I totally feel Uncle that there
is hope for change + it is here.
In this time people are overloaded with their own
problems + survival issues, being bombarded
by social media + the threats of wars all over
+ just trying to pay their ever increasing bills +
get by ... Its no excuse for not being open but
perhaps that’s why there was no a more positive
outcome for this referendum.
The Government was either naïve or stupid with
their PR campaign.
The brutal truth of the referendum campaign is
that the Yes case could not cut through, could
not articulate simply enough why something
which was said to be just an advisory committee
was so important that it should be put in the
constitution.
Social Media utterly battered them with false
information + asking questions that were not
answered which fuelled doubts + strengthened
naysayers.
To add insult to injury $360 million of taxpayer
money funded the Yes campaign + that could
just have easily been put into all the areas of
Aboriginal justice + reform + communities so
desperately needing it.
Regardless of that, it is to The First Nations
People that we owe yet again, our apology.
Not just for not being able to simply recognise
them without all the three ringed circus but also
the enduring sadness + hurt this process has
dredged up.
I acknowledge + pay
respect to the Aboriginal
+ Torres Straight Islander
People as the First Nations
original owners + traditional
custodians of Australia, the
land on which I live.
Always was, always will be ...
References
https://en.wikipedia.org/wiki/Native_title_in_
Australia
https://aiatsis.gov.au/explore/1967-referendum
https://en.wikipedia.org/wiki/1967_Australian_
referendum_(Aboriginals)
https://www.yes23.com.au/
https://www.abc.net.au/news/2023-
03-14/aukus-nuclear-submarine-dealannounced/102087614
https://www.smh.com.au/politics/federal/
everything-you-need-to-know-about-the-voicereferendum-yes-case-20230828-p5e044.html
https://www.wsws.org/en/articles/2023/09/25/
drzf-s25.html
https://www.bca.com.au/business_has_role_
to_play_in_voice_debate
https://www.smh.com.au/politics/federal/
investors-put-heat-on-big-business-overbacking-for-voice-20230905-p5e265.html
https://www.afr.com/life-and-luxury/arts-andculture/top-philanthropists-say-yes-with-17mto-support-voice-campaign-20230420-p5d1zp
https://ulurustatement.org/the-voice/what-isthe-voice/
https://www.legislation.gov.au/Details/
C2023B00060/Explanatory%20Memorandum/
Text
https://solidarity.net.au/mag/back/2010/21/
hawke-keating-and-aboriginal-rights-laborssorry-history/
047

YOU ARE CORDIALLY INVITED
RESONANS
res·​o·​nance ˈre-zə-nən(t)s
A FRINGE OF NATURE AND CULTURE
In celebration of the 15th anniversary of Red Door Magazine,
we’ve decided to embark on a very exciting, yet challenging adventure.
From October 8th to the 13th, 2024, in Copenhagen, Denmark,
we will be hosting the very first RESONANS festival, a fringe of nature
and culture. That is to say, a celebration of humanity’s connection with
our environment, through expressions in poetry, visual art, theater,
music... all with a focus on multimedia.
There will be, of course, digital happenings, as well as a publication,
and plenty of other collectable items
for us to celebrate this occasion.
We have already begun recruiting local venues for this endeavor, and
our partners have already agreed to put on their fanciest suits and
curate programs that represent their region in our festival, but we still
need to recruit funding and sponsors to make this great thing happen.
Please give your support at www.patreon.com/reddoor to give us the
necessary impulse to accomplish this feat.
If you have other ideas of how you’d like to get involved,
please write to
reddoorcph@gmail.com
Meanwhile, please save the date.
We look forward to celebrating with you,
yes, here, in Copenhagen.
OCTOBER 8TH - 13TH, COPENHAGEN, DENMARK
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RED DOOR MAGAZINE
AUGMENTED DEMOCRACIES
FEATURING HAZEM HARB
WINTER 2023
050
WWW.REDDOORMAGAZINE.COM