Michael Just (born 1979, Frankfurt/Main, Germany is an interdisciplinary artist based in Berlin, Germany. He studied at the Kunstakademie Düsseldorf with Daniel Buren (Diplom/Meisterschüler 2007), received an MFA from Goldsmiths, University of London (2009) and participated in the Whitney Museum Independent Study Program in New York City (2010/2011).

He was a DAAD Postgraduate Fellow (2007/2008) and a recipient of the EHFFellowship, Konrad-Adenauer-Foundation (2007/2008). Residencies include the Palazzo delle Arti Napoli (2010), Villa Aurora Los Angeles (2012), Dongcheng District Beijing (2017) and the National Museum of Modern and Contemporary Art, Seoul (2018). His work has been shown in institutions around the world such as the MRAC Sérignan (2005 and 2006), Benaki Museum Athens (2005), Domaine Pommery Reims (2007), Cornerhouse Manchester (2009), A Foundation London (2009), Palazzo delle Arti Napoli (2010), Artisanal House New York City (2013), Eigen+Art Lab Berlin (2014), Deutsche Bank KunstHalle Berlin (2015), Peppermint Holding Berlin (2016), Dongcheng District Beijing (2017) and the National Museum of Modern and Contemporary Art Seoul (2018). He has taught and lectured internationally such as at the Kunstakademie Düsseldorf, Goldsmiths University of London, Accademia di Belle Arti Napoli, Art Center College of Design Pasadena, University of Texas Dallas and Accademia di Belle Arti Roma.

Michael Just works mainly in two-dimensional, image-based mediums, installation, text and time- and process-based, often times discursive and intersubjective projects. His performative practice prioritizes a post-conceptual approach over medium-specificity and could be described as a network of permeating, interacting and interrelating fields that form a complex whole. Using notions of plasticity to develop fluid concepts of the politics of form and the form of politics, Just is ultimately concerned with history understood as the process of change. His work investigates and analyzes notions of the conditions of becoming as they pertain to opening up possibilities for the formation of future societies and their material conditions of production. For art to contribute to the constitution of the future, his practice attempts to facilitate a discourse that merges culture with technology and the socio-political. There is a performative, pedagogical dimension to his approach at the heart of which is the production of a critical audience. His work is, therefore, also concerned with an investigation of methodologies of knowledge production, often times from a queer-feminist perspective.