Yvonne Hasan Alma Redlinger 10th of July – 23rd of August 2025 What draws attention to the two artistic approaches is a subtle, intrinsic complementarity that flows through the subjects, the conceptual space, and the formal dimension of the works. The nature of this subtlety bears the imprint of a distant history. It can be traced back to the formative period of the two artists—more precisely, to the connection and methods of a delayed avant-garde, characteristic of M. H. Maxy’s pedagogy at the Jewish Art School established in 1941 in Bucharest. This subtlety is closely tied to anachronism, shaped by the fidelity and consistency of a stylistic trajectory that originated in the early years of their training. While both practices show fluctuations—more pronounced in the case of Yvonne Hasan due to the intersection of art, theory, and philosophy—the hallmark of a soft modernism permeates both creative strategies. Here, a devotion to color, geometry, pictoriality, and subject matter persists in the form of an unaltered thinking, unaffected by the multitude of artistic directions that have emerged over the past seven decades. The internal logic of both practices appears to rest on similar foundations when viewed from a broader perspective. From a distance, the works seem to converge in a lexical field born of undefined colors and geometries, intersections and boundaries that transcend the genetic core of the pictorial medium. This emancipation from the high tradition of painting is particularly evident in Yvonne Hasan’s practice, whose multidisciplinary orientation—between theory and studio, between tradition and neo-avant-garde, between painting and video—opens up new spaces of play, enriched by explorations in collage, assemblage, montage, and textile work. In contrast to Yvonne, Alma Redlinger maintains a steadfast loyalty to painting and to the experimental trajectories articulated within this medium. Despite these differences, a profound fusion takes place between the two visual discourses. Painting remains the central medium—the axis from which experimental (predominantly abstract) variations stem in Yvonne’s case, or the chromatic explorations of studio moments, everyday life, and the mundane in Alma’s. The figure plays a central role in both practices. Alma builds her figurative space on formal principles rooted in pure Cubism, while in Yvonne’s work, the figure undergoes a transformative process that often reaches the threshold of abstraction. Elements of daily life make their presence felt through two distinct methods. Alma Redlinger’s series of still lifes dominates the exhibition space with its dynamism, chromatic richness, and textured paintwork shaped by a complex, geometrized visual language. Objects from the studio’s habitat take over the canvas, transforming into intimate narratives of everyday life. Collage and assemblage are Yvonne’s methods of extracting elements from the everyday, allowing for a personal articulation where structural harmony is enhanced by objectual fluctuations that disrupt the linear reading of these geometries. At first glance, the internal contrast between Yvonne’s textile works and her experimental/documentary films may seem stark. However, upon closer analysis, one notices the same visual strategies of image fragmentation at play in both media. Geometrization—highly visible in her textiles—operates similarly in her video works, through the dynamic eclecticism of short frames edited together with an almost surrealist touch. The language of the two artists frequently intersects—not only because they emerged from the same environment that nurtured their appetite for exploring pictorial space and its derivatives, but also because they share a persistent commitment to certain visual strategies that remain essential and indisputable within the context of Romanian art over the past eight decades.