Michal B. Ron is an art theoretician and historian. She has completed a PhD dissertation at the Free University in Berlin, on the question of time in the work of Marcel Broodthaers, as related to historical thinking, to animals, and to children.
Michal B. Ron
In an era of social distancing, an exhibition about ecology turns into a meditation on human connections. Michal B. Ron reviews the recent “Down to Earth” exhibition at Gropius Bau.
How should art institutions respond to the current political climate? Michal B. Ron reviews Paper Monument’s recent book, in which various art professionals offer their propositions to six perceptive questions.
“There is no curatorial passivism, any more than there is a passivist war.” Michal B. Ron reviews Maura Reilly’s book Curatorial Activism: Towards an Ethics of Curating and adds a note about the heroless politeness of the recent Berlin Biennial.
“An author who had taken testosterone as a drug in a philosophical self-experiment that she documented in a book - it shook me up so much that it wouldn't leave my mind." Michal B. Ron and Hannah M. Bruckmüller discuss naming, sexuality, fables, giving birth and giving death, in response to Paul B. Preciado’s Testo Junkie.
A depressing human condition resolved with grand gestures of politics, sentimentality, fashion, and merchandise. Michal B. Ron writes about documenta 14 in Kassel.
“Welcome to the post-contemporary,” say the DIS collective, curators of the 9th Berlin Biennale, with the hospitality of border control. Michal B. Ron shares her impressions of the biennial in a new critique for Tohu Magazine.
Michal B. Ron looks for eggs and feathers in Marcel Broodthaers's retrospective at MoMA
Producing some of the wittiest artistic pranks in sculptures, installations, photography, and video works, in an ever more pompous art world, Fischli/Weiss have always advocated wild thinking. Michal B. Ron writes about the duo's major retrospective exhibition at the Guggenheim.
Did this year’s posthumous attempts at exhibiting Marcel Broodthaers's work rise to the challenge? Would his future retrospective at MoMA? Michal B. Ron is tackling these questions and their inherent paradox.
The opening days of the 14th art biennial in Istanbul were haunted by a child’s ghost, three-year-old Aylan Kurdi, who had drowned during his fatal journey, fleeing Syria. Michal B. Ron on the Istanbul Biennial