In the introductory text of the exhibition, Alexandra Sârbu, art historian and museographer at the Art Museum in Cluj-Napoca, explains both the extremely delicate context in which the works presented on the grounds of Bánffy Palace were born, and the motivation that drove the decision. I present it below:

"The education system, as well as the cultural sector, has been one of the areas most affected by the current health crisis, being forced to resort, almost overnight, to a drastic "turnaround"change: the introduction of compulsory online schooling to replace the classic face-to-face teaching system. But this process of "moving" the teaching act in the virtual environment, which is quite steep and adopted only as a solution to the damage, has highlighted the challenges, advantages and, of course, disadvantages of digitizing education, one of the most sensitive aspects being the impersonal and cold character of this type of schooling, by limiting the direct connection between teacher and pupil or student. With the most radical effects in the case of the vocational sector. 

Or, art and its places of manifestation are inextricably linked to the need for communication and interrelationship, to the warmth and the secure environment of the immediate proximity. Digital opportunities, despite their attractiveness and unquestionable spectacularity, are not, however, able to totally replace the "real experience", that particular feeling of intimacy that you exercise in the physical presence of the work of art, a lively and vibrant dialogue. , which acquires, imperceptibly, the dimension of a "bodily experience" involving the eyes, the senses, the breath and the thought. And last but not least, it is complemented by the uniqueness of the emotion you feel while sharing the experience with those you have with you. In the absence of "live", you are practically deprived of a whole register of sensations, which the virtual environment does not seem to be able to reproduce. 

"Gone With the Wind" is, in essence, a metaphorical title that refers, beyond the significance of the famous film or the wave of protests "Black Lives Matter" that marked the recent news, to the psychological and social impact of the period of " forced confinement imposed by the pandemic context generated by Covid-19. Blurred prospects, oppressive feelings of uncertainty or even dismay and inadequacy, confusion caused by inaccuracy or annoyance of messages delivered in public, inherent risks and losses, unanswered questions, the need for guarantees and "minimal security" lastly, the frustration of seeing your freedom of movement and interactions reduced to a strictly necessary level, all caused, both at individual and societal level, disturbances difficult to manage and anticipate, but also a certain human "condition", able to make possible the migration to the asceticism of inner exile, a refuge and a voluntary return to oneself, to that forgotten or often hidden truth (...), points out the museographer.

The stages of elaboration of the works reunited in the exhibition fully coincided with the regime of «self-isolation» established, at national level, by the exceptional sanitary conditions, being thus imprinted, in a movingly sincere manner, by a whole kaleidoscope of reactions «hot », Triggering emotions and feelings against the background of the installation of unprecedented circumstances.