Uncommon denominators

December 19th 2025 – March 7th 2026

Artists: Robert Andacs, Tiziana Cellino, Mara Cucu, Anastasia Dumitrescu, Daniela Palimariu

Text by Norbert Filep

The fragments that give rise to orientations of perspective and convergent ideas may be characterized by elements that anticipate a play of oscillation, most often defined through the prism of a shared affinity, almost imperceptible at first encounter. Once identified, however, these elements become strategies of correlation around which, beyond previously mentioned accumulations, new modes of thought begin to coagulate. In turn, these activate the trajectory of the whole, propelling it toward new directions. The common denominator thus appears to be vital. Much like the nucleus around which electrons orbit in perfect synchronization, the common denominator constitutes the center of such coagulations. Whether social, political, economic, or cultural in nature, the impulse to orbit collectively around a nucleus seems to reflect an ancestral mode of organization intrinsic to human nature.

The exhibition “Uncommon Denominators” operates according to these same principles, but in reverse, mirrored within a negative plane, beyond the semantic logic of the foundational principle defined by a common denominator. Rather than proposing a specific convergence where the five artistic practices might intersect, the exhibition presents them as self-contained fragments within its overall structure. This isolation, rooted in variations specific to each artist, not only relies on a multiple denominator correlated to each individual work, but also constructs an anti-dialogue, a divergence that complicates the reception of the exhibition as a unified whole. What emerges instead is an ideational space of opposition, antithesis, and contrast, articulating the singularity of each practice.

Although painting dominates the exhibition, it functions in a contrasting manner, amplifying the heterogeneous character of the space. The singularities encountered range from the geometric structures of domestic space (Robert Andacs), rendered with relish through the impasto sensibility of the palette knife, to the unrestrained pursuit of spontaneous gesture (Tiziana Cellino), arising from the fluidity of painterly matter and evoking a dance of plasma within intensely hot flames. In both instances, the synthesis of worldly elements into abstract articulations of pictorial space calls into question the modalities through which the world is perceived, opening new possibilities for images embedded within the collective consciousness. At the opposite pole, Anastasia Dumitrescu’s research unfolds through a play of photons. In antithesis to painterly matter, the juxtaposition of photographic images interrogates the possibility of temporal convergence—sedimented, layered, and structured across multiple strata. Here, the artist places temporal space under tension through the relationship between the photographic instant and the memory of the photographed elements, whose time remains in an ongoing process of sedimentation and transformation. The equator of the exhibition is defined by a hybridization between geometry and the real, between the abstract and the figurative. In Daniela Pălimariu’s work, the logic of abstraction originates in the architecture of unfolded packaging. The play of an anti-origami reintroduces the object’s initial utilitarian drawing, where abstract space, cut according to standardized requirements reasserts itself as a central, articulated and autonomous element. Mara Cucu’s objects appear to emerge from an ultra-dimensional space, akin to a tesseract, in which the bidimensional plane of a subtle painterliness interferes with the hardness of porcelain or conversely, with the fragility of feathers. Both are translated through a form of photographic painting that places the viewer in a constant interrogation of the dimension assumed within the painted image.

“Uncommon Denominators” thus positions itself not as an attempt to unify multiple artistic practices, as exhibitions often do to varying degrees, but rather as an effort to articulate the personality of each artistic investigation in its most particular and irreducible form.