Baroque||Urban is a project in which the Museum of Art in Timisoara has associated itself with the intention of promoting both old and new art, to showcase it as a paradigm, to value conceptual art. Thanks to Mirela Vlăduţi and her admirable team, it is possible today for the Museum of Art of Timisoara to host an exceptional exhibition: |WOMAN, ALL TOO WOMAN|.

Compared to the first two editions, the third edition of the Baroque||Urban project includes many new things: the exhibition is created by the female-artist; it excels at promoting feminist spirit and values; it has become a reference in better understanding Balkan Europe; the exhibits refer to a change in all fields, promoting a different way of thinking, a different representation of the world near us, a different way of life. Finally, the shared message of the artists is a message belonging to a strong woman which is contradicted, and often humiliated, by a society where stereotypes continue to be dominant. Innovative, with an own reflection on the human universe, on time and space, the exhibition primarily refers to unique names and pieces of art. Tens of artists from Romania, Serbia, Hungary, Austria and France have works exposed, each proving to have a preoccupation for self-expression. They are all personalities whose works have been exposed in large galleries and museums from Europe and, in some cases, in the rooms of our museum. Despite the diversity of their languages, all works come to discuss a world in stalemate, a society whose crisis are visible every day and in every surrounding.

In Inventarea Ruritaniei. Imperialismul imaginației (Inventing Ruritania. The Imperialism of Imagination), Vesna Goldsworthy investigates the archetypes created by famous writers, by a long literary and film production related to the Balkan Peninsula and its worlds. These have appeared in the 19th Century and have perpetuated up until today. Used in politics and in the “industry of conscience” based on mass-media, archetypes are an indicator not only related to the falsifying of realities, but also related to the manner in which the region was exploited as an object of dialogue with oneself by the dominant cultures. The result was that entire societies, but especially the elites from this region of Europe were obliged not only to learn the vocabulary of the West, but also the stereotypes assimilated by it. Just like the artist who is looking to understand and conceptualize human condition with his own means and language, the writer states that despite the fact that the adjective “Balkanic” can mean the opposite of “European”, the Balkan Peninsula is part of Europe. Using the “Balkanic” adjective, often used to describe one’s neighbour, was and often still is the result of ignorance and bigotism.

The |WOMAN, ALL TOO WOMAN| exhibition – whose co-organizers are the Meta Spaţiu and The Museum of Art Timisoara – becomes that more attractive and attached since one of the world’s famous artists is preoccupied with the sense of regional baroque, of the concordia discordans (the concordance of discords), of order opposed to chaos. We are, of course, referring to the work Balkan Baroque of Marinei Abramović. It was exhibited in the Museum of Modern Art of New York (MOMA) with the occasion of a retrospective dedicated to the famous artist and had a resounding success with the public – the 970.000 visitors showed remarkable interest. Both the novelty of the creation, as well as the message it transmitted have played an essential role in the reception of the opera discussed above. In Balkan Baroque, Marina Abramović invites us to understand the ideological results of etnonationalism and religious fanatism, but more than that, to reflect upon an “industry of conscience” created in the last century and a half which has replaced myth with truth, reality with fiction, facts with imagination, exploiting the ignorance of the mass.

All the 120 pieces of the |WOMAN, ALL TOO WOMAN| exhibition relate to a socio-political universe where similar themes are approached in a variety of styles, inviting the viewer to dialogue with himself as well as others.

Instead of a conclusion, I will say that the Museum of Art Timisoara thanks Mirela Vlăduţi, a person fully dedicated to promoting quality art, who has taken on the mission to be the commissionaire of this exceptional exhibition. The three editions of the Baroque||Urban project are based on the initiatives, organizational and communicational talent of Miss Mirela Vlăduţi, initiatives which the museum has always supported, together with the institutions of public administration, the Timis County Council and the Timisoara City Hall.