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Max Vento

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Max Vento

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Born
Valencia, Spain
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Member Since
June 2012


'Kokoschka' en mis manos

¡Por fin lo tengo en mis manos! 🙌🍾 ‘Kokoschka: Portrait d'un amour expressionniste’ es mi primer cómic en solitario desde el integral de ‘Actor aspirante’ (¡hace más de 10 años!). Saldrá en Francia el 16 de mayo. No sé si se aprecia en la foto, pero @steinkis ha hecho un trabajo espectacular en la edición. ¡Ha quedado precioso!  📘📕


#Kokoschka #ArtLife #love #lovestory #art  #beautiful #ModernAr Read more of this blog post »
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Published on April 29, 2024 09:11
Average rating: 4.04 · 132 ratings · 19 reviews · 17 distinct worksSimilar authors
El viejo y el narco

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4.07 avg rating — 67 ratings — published 2020 — 2 editions
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Actor aspirante (Actor aspi...

3.88 avg rating — 17 ratings — published 2007 — 2 editions
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Valentia: 1 ciudad, 34 autores

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4.17 avg rating — 12 ratings — published 2012
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Noches de citas (Actor aspi...

3.50 avg rating — 12 ratings — published 2008
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Actor aspirante: Volumen in...

really liked it 4.00 avg rating — 6 ratings — published 2013
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Kokoschka, portrait d'un am...

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Le vieil homme et les Narcos

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4.25 avg rating — 4 ratings — published 2019
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Comedia en un acto (Actor a...

3.75 avg rating — 4 ratings — published 2010
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PACK DOLMEN. ACTOR ASPIRANT...

it was amazing 5.00 avg rating — 1 rating
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it was amazing 5.00 avg rating — 1 rating2 editions
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Actor aspirante Noches de citas Comedia en un acto Actor aspirante: Volumen in...
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Oskar Kokoschka by Henry I. Schvey
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Salman Rushdie
“For a long while I have believed – this is perhaps my version of Sir Darius Xerxes Cama’s belief in a fourth function of outsideness – that in every generation there are a few souls, call them lucky or cursed, who are simply born not belonging, who come into the world semi-detached, if you like, without strong affiliation to family or location or nation or race; that there may even be millions, billions of such souls, as many non-belongers as belongers, perhaps; that, in sum, the phenomenon may be as “natural” a manifestation of human nature as its opposite, but one that has been mostly frustrated, throughout human history, by lack of opportunity.

And not only by that: for those who value stability, who fear transience, uncertainly, change, have erected a powerful system of stigmas and taboos against rootlessness, that disruptive, anti-social force, so that we mostly conform, we pretend to be motivated by loyalties and solidarities we do not really feel, we hide our secret identities beneath the false skins of those identities which bear the belongers’ seal of approval.

But the truth leaks out in our dreams; alone in our beds (because we are all alone at night, even if we do not sleep by ourselves), we soar, we fly, we flee. And in the waking dreams our societies permit, in our myths, our arts, our songs, we celebrate the non-belongers, the different ones, the outlaws, the freaks.

What we forbid ourselves we pay good money to watch, in a playhouse or a movie theater, or to read about between the secret covers of a book. Our libraries, our palaces of entertainment tell the truth. The tramp, the assassin, the rebel, the thief, the mutant, the outcast, the delinquent, the devil, the sinner, the traveler, the gangster, the runner, the mask: if we did not recognize in them our least-fulfilled needs, we would not invent them over and over again, in every place, in every language, in every time.”
Salman Rushdie, The Ground Beneath Her Feet

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