Jasmin Werner lives and works in Berlin.

Her sculptural-installative practice combines personal narratives with global power structures and transnational movements. In doing so, she examines the material and ideological architectures of origin, belonging, and economic dependence—often in conjunction with collaborative processes that interweave research and craft practices.

In Send Money Fast (2023), Werner made migrant financial flows visible by having remittance logos painted on the roller blinds of a Berlin art institute—in collaboration with a sign painter from her neighborhood. In The Wheel of Life (2018), she questioned architectures of social mobility using sculptural staircase structures. For self supporting (2024), shown at the Asian Art Biennale, she collaborated with Filipino migrant workers in Taiwan, incorporating the contents of balikbayan boxes—symbolic packages of family support—into her work to explore the complex transnational connections between origin, family, and work.

Her work has been presented internationally, including in solo exhibitions at Damien & The Love Guru in Zurich and palace enterprise in Copenhagen (both 2025), at the Westfälischer Kunstverein in Münster (2021), and at the Kunstverein Braunschweig (2018). Group exhibitions have taken her to Hamburger Bahnhof in Berlin (2024), the Asian Art Biennale in Taichung (2024–2025), the Bundeskunsthalle in Bonn (2022), and the National Museum of Modern and Contemporary Art in Korea (2017), among others.

Werner studied at the Städelschule in Frankfurt am Main (class of Simon Starling and Peter Fischli), at the Gerrit Rietveld Academie in Amsterdam, and at the Karlsruhe University of Arts and Design. In 2023, she was part of the Berlin Program for Artists, and in 2024, she received a working scholarship in fine arts from the Berlin Senate and spent residencies at the Goethe-Institut Manila, Art Hub Copenhagen, and the National Museum of Modern and Contemporary Art in Seoul, among others.