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Michael Grossmann (Born 22 February 1965 in Stuttgart-Bad Cannstatt, Germany) is a German artist and printmaker. He lives and works in Munich, Germany.

Life und Work
Michael Grossmann studied philosophy, stage design and painting. His works can be divided in three periods.

(1993 – 1999)
The early works playfully explore the possibilities of perceiving events in form of video installations and search for possibilities of clarity in statements in painting, e.g. in his line paintings.

(1999 – 2004)
Now a change becomes apparent, especially in the Grossmann's two exhibits, called rottürkis I (red turquoise I) and rottürkis II (red turquoise II), at the Museum der Wahrnehmung in Graz, Austria between 1998 and 2000. His fascination with scientific problems, Wittgensteins plays on language and works of pure mulitiplicity, coupled with the idea that a pluralistic perception requires a pluralistic ethos, bring Grossmann close to a radical constructivism; this culminates in babel, a convolution of drawings comprised of approx. 100 sheets. The studies regarding the Laws of Form postulated by George Spencer-Brown in the years 2003 and 2004, and especially the two-body simulation seeking yellow in collaboration with the physicist Ralph Mönchmeyer, lead Grossmann to realize that different expressions of science and art cannot be united because they belong to two different semiospheres, a concept derived from the work of Yuri Lotman who postulated it in the realm of literary expressions. This realization plays an important role in the further development of Grossmann's works.

(2004 - today)
Now Grossmann focuses on the inherent possibilities of the semiosphere of painting again, with the literary realm serving him as a portfolio of content and formal bridge as it is closer in form to painting than science. This first leads to the cycle Finnegans Wake and in 2007 to the large cycle 18 Tafelbilder für Ulysses (18 panel-paintings for Ulysses)  , which was also inspired by James Joyce. From this, he develops in the years 2009 and 2010 the studies on Samuel Beckett with the portfolio of etchings ''Le Salaud! Il n'existe pas! comprised of 32 sheets and the large format painting Losigkeit/Lessness/Sans'', as well as many other studies. The central theme of both cycles is now clearly the semiosphere, which is now connected with Lotman's works and the works of C.S. Peirce in the conceptual work Kontrariposte. Losigkeit/Lessness/Sans first leads Grossmann in 2011 to the cycle Fensterbilder (window paintings) and then on to his current works smithereens. Here the problem of the various semiospheres is shown as a positive multiplicity and is used in compiling the works into a pictorial atlas. This plurality is united with postmodernism in the sense of Lyotard and leads Grossmann from the panel paintings and the allegorical method to a "associative method", according to Ellen Markgraf. The fracturalization inherent in the term "smithereens" now also manifests formally. The first exhibition of the smithereens in Munich centers around smithereens: theatrum mundi I with its citational links to Arno Schmidt and Morton Feldman who are postmodern, according to Grossmann. The quotes from print, painting, photography and music are now presented more loosely and the content actually connects outside the work: "You can't turn smithereens into a mosaic". This way of crossing the boundary is now the actual method of working, for which Grossmann borrows the term "auxiliary sciences" from Aby Warburg, which for Warburg includes no less than the whole complex of humanities and natural sciences.