I start these lines / thoughts about the new exhibition of Lena Vieru-Conta with a personal memory: two decades ago, a happy event made us read and analyze together some fundamental texts from the area of contemporary visual studies; I wondered what intellectual motivation caused a sensitive and talented pianist to spend precious time trying to unravel the mystery of images. However, I admired the interdisciplinary effort undertaken by the musician who had chosen to complete her master’s studies at the University of Arts in Bucharest, researching Paul Klee’s work from the perspective of painting-music duality. A passionate music lover, I have always followed the dialogue between the two artistic languages, looking for relevant examples for a dialogue that I often found more significant than the classical one, which opposed the painting of poetry: ut painting of poetry. I was to discover later that Lena Vieru-Conta is also a visual artist with a remarkable creative potential, which I deciphered in the visual-haptic tension cultivated in most of her works. A happy moment that brought us back together was his Tempo rubato exhibition in the spring of 2010. I understood then why a pianist wanted to (and) paint: for the mentally born image of the unpredictable play of the flaps to catch on. physical form in the collages that combined the various painting techniques with the textile inserts.
Cultural partners: ArtWall, E-Zeppelin, Feeder.ro, Igloo, Jurnalul Bucurestiului, Modernism.ro, Radio Romania Cultural, Radio Guerilla, Șapte Seri.