Galerie

Georg Nothelfer

Jenny Michel

Installation View "Soft Ruins". Museum Villa Zanders, Bergisch Gladbach, 2024
"Leaves of Eden vs. Fleurs du Mal (Part II)", 2021, Nitrofrottage on cardboard, wire mesh, dimensions variable. 
"My Plant Demiurgi - The Birth of Chaos", 2023, mixed media on canvas, 100 x 150 cm. Photo: Michael Wittassek
Installation View "Soft Ruins". Museum Villa Zanders, Bergisch Gladbach, 2024,
"Leaves of Eden vs. Fleurs du Mal (Part II)", 2021, Nitrofrottage on cardboard, wire mesh, dimensions variable. 
"My Plant Demiurgi - The Birth of Chaos", 2023, mixed media on canvas, 100 x 150 cm. Photo: Michael Wittassek
JMichel_fleurs_mal_kl
Lunatic Landscape – Chaos
2024, Mixed Media on canvas, 170 x 130 cm
Lunatic Landscape – Chaos,
2024, Mixed Media on canvas, 170 x 130 cm
JMichel_Lunatic_landscape_bearbeitet
Leaves of Eden vs. Fleurs du Mal (Part II)
2021, Nitrofrottage on cardboard, wire mesh, dimensions variable (detail). Photo: Nicolas Wefers
Leaves of Eden vs. Fleurs du Mal (Part II),
2021, Nitrofrottage on cardboard, wire mesh, dimensions variable (detail). Photo: Nicolas Wefers
JMichel_fleurs_mal_detail_kl
Lichens – AVI NI
2024, Mixed media on canvas, 100 x 70 cm
Lichens – AVI NI,
2024, Mixed media on canvas, 100 x 70 cm
JMichel_lichens1_kl Kopie_web
Installation View "Fallen Gardens". Projektraum, Kunstmuseum Wiesbaden, 2017
"Traps", 2015-2017, gravure ink, acrylic glue on Japanese paper, copper wire, electronics, sound, dimensions variable
"Fallen Gardens", since 2013, text on scotch tape, dimensions variable. Photo: Bernd Fickert
Installation View "Fallen Gardens". Projektraum, Kunstmuseum Wiesbaden, 2017,
"Traps", 2015-2017, gravure ink, acrylic glue on Japanese paper, copper wire, electronics, sound, dimensions variable
"Fallen Gardens", since 2013, text on scotch tape, dimensions variable. Photo: Bernd Fickert
JMichel_traps1_kl
Traps
2015-2017, intaglio ink, acrylic glue on Japanese paper, copper wire, electronics, sound, dimensions variable (detail). Photo: Bernd Fickert 
Traps,
2015-2017, intaglio ink, acrylic glue on Japanese paper, copper wire, electronics, sound, dimensions variable (detail). Photo: Bernd Fickert 
JMichel_traps_detail1_web
Leaves of Eden – Inside the Black Box
2019, pencil, ink, rubber printing, typewriter, found materials on various papers, approx. 40 x 30 cm (SOLD)
Leaves of Eden – Inside the Black Box,
2019, pencil, ink, rubber printing, typewriter, found materials on various papers, approx. 40 x 30 cm (SOLD)
JMichel-black_box_web
Hidden Encyclopedia – Phosphat
2022, found materials, erased book page on handmade paper, ca. 30 x 20 cm
Hidden Encyclopedia – Phosphat,
2022, found materials, erased book page on handmade paper, ca. 30 x 20 cm
JMichel_hidden_ency_phosphat_web
Hidden Encyclopedia – MBER_compounds
2022, found materials, erased book page on paper, ca. 30 x 20 cm
Hidden Encyclopedia – MBER_compounds,
2022, found materials, erased book page on paper, ca. 30 x 20 cm
JMichel_hidden_ency_mber_kl
No Otherness, no Awareness
2020, intaglio ink, coloured pencil, charcoal, pencil on paper, 130 x 100 cm. Photo: André Carvalho - Chroma 
No Otherness, no Awareness,
2020, intaglio ink, coloured pencil, charcoal, pencil on paper, 130 x 100 cm. Photo: André Carvalho - Chroma 
JMichel_how_we_move_web
Exit
2018, intaglio colour on Japanese paper and wood, approx. 300 x 400 cm. Photo: Lepkowski Studios, Berlin
Exit,
2018, intaglio colour on Japanese paper and wood, approx. 300 x 400 cm. Photo: Lepkowski Studios, Berlin
JMichel_exit_kl
Exit
2018, intaglio colour on Japanese paper and wood, approx. 300 x 400 cm (detail). Photo: Lepkowski Studios
Exit,
2018, intaglio colour on Japanese paper and wood, approx. 300 x 400 cm (detail). Photo: Lepkowski Studios
JMichel_exit_detail_kl
Installation View "Abandoned Stories" Kasseler Kunstverein, 2021
Leaves of Eden vs. Fleurs du Mal (Part. I), 2021, intaglio ink on Japanese paper, filling material, found adhesive strips, dimensions variable. Photo: Nicolas Wefers
Installation View "Abandoned Stories" Kasseler Kunstverein, 2021,
Leaves of Eden vs. Fleurs du Mal (Part. I), 2021, intaglio ink on Japanese paper, filling material, found adhesive strips, dimensions variable. Photo: Nicolas Wefers
JMichel_leaves_fleurs1_kl
Leaves of Eden vs. Fleurs du Mal (Part I)
2021, intaglio ink on Japanese paper, filling material, found adhesive strips, dimensions variable (detail). Photo: Nicolas Wefers
Leaves of Eden vs. Fleurs du Mal (Part I),
2021, intaglio ink on Japanese paper, filling material, found adhesive strips, dimensions variable (detail). Photo: Nicolas Wefers
JMichel_leaves_eden_detail_kl
Leaves of Eden – Landscape II
2019, pencil, nitrofrottage, found materials on paper, 100 x 70 cm
Leaves of Eden – Landscape II,
2019, pencil, nitrofrottage, found materials on paper, 100 x 70 cm
JMichel_leaves_landscape1_kl
Leaves of Eden – Petrifying the Rainbow
2019, pencil, ink, rubber printing, typewriter, found materials on various papers, approx. 40 x 30 cm (SOLD)
Leaves of Eden – Petrifying the Rainbow,
2019, pencil, ink, rubber printing, typewriter, found materials on various papers, approx. 40 x 30 cm (SOLD)
JMichel_petrifying_rainbow_kl

Biography

Born 1975 in Worms/Germany
1998-2003 Study Visual Communication/ Free Graphics, Kunsthochschule Kassel
2000-2005 Study fine arts at the Kunsthochschule Kassel; graduated under Prof. Bjørn Melhus
2008 EHF- Scholarship, Konrad-Adenauer-Stiftung
2010 HAP-Grieshaber-Price
2013 Artist in Residence, Hanse-Wissenschaftskolleg, Delmenhorst
2015 "Trash Thought Chronicles", Art Association Ludwigshafen a. Rh.
2017 "Fallen Gardens", Project space, Museum Wiesbaden
2018 Nomination Marianne-Werefkin-Preis
2020 "Doors, Windows and Cells", Art museum Reutlingen
2022 “leaves of eden versus fleurs du mal“, Galerie Pankow, Berlin 
2023 NEUSTARTplus Scholarship, Stiftung Kunstfonds
2024 "Soft Ruins", Museum Villa Zanders, Bergisch Gladbach

Jenny Michel combines objects, drawings, photographs and texts in a variety of media to create complex series of works whose differentiated textual background meets an equally multi-layered material level.
The works are based on a process of palimpsesting information. In a non-linear layering, arranging, collaging and decollaging of signs and texts, the works grow together to form a modular, labyrinthine overall structure. In their series-like linking, they reflect the artist's widely networked, highly analytical approach.
Set pieces of scientific ways of thinking and representation, systems of signs and order are used, which seem to structure the relationships between reality and perception. The individual parts of this cosmos of information flow into landscapes of signs that spread out like the legacies of our society. What is found and perceived is constantly recombined and re-informed.
Oscillating between science and fiction, Jenny Michel ironizes the claim to absoluteness of scientific thought and thus also exposes ideal concepts as an ambivalent phenomenon of striking social relevance.

Exhibitions

Publications

  • Leaves of Eden vs. Fleurs du Mal, 2022, Published by: Annette Tietz, Galerie Pankow for the Bezirksamt Pankow von Berlin, as part of the exhibition: Jenny Michel “Leaves of Eden vs. Fleurs du Mal”. Text author: Thomas Eller, ISBN 978-3-00-071678-2, EUR 15

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  • Doors, Windows and Cells, 2020, This catalog was produced on the occasion of the exhibition “Was bisher geschah: Doors, Windows and Cells” for the Kunstmuseum Reutlingen. Edited by Ina Dinter. Hardcover, 202 pages, English, numerous illustrations., ISBN 978-3-96912-019-4

  • Jenny Michel Fallen Gardens, 2018, This catalog was created on the occasion of the exhibition “Fallen Gardens” in the project space Museum Wiesbaden from March 24 to June 26, 2017, curated by Alexander Klar; ed. Museum Wiesbaden, with texts by Ursula Panhans-Bühler and Alexander Klar, 59 pages, German and English, numerous illustrations., ISBN 978-3-89258-119-2, EUR 18

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