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Jean-Max Albert is a painter, sculptor, writer, and musician. He created plant architectures which come close to land art and architectural sculpture, perpetuating a reflexion initiated by Paul Klee and Edgar Varèse on the transposition of musical structures into formal constructions. He has published theory, artist's books, a collection of poems, plays and novels inspired by quantic physics. == Biography == Jean-Max Albert was born in 1942, in Loches, France. He studied at the Ecole Régionale des Beaux-Arts d'Angers then at the Ecole Nationale des Beaux-Arts de Paris, with frequent visits to the Louvre, across the river (cf An Afternoon in the Louvre). His student friends introduced him to the works of Claude-Nicolas Ledoux, Louis Kahn, Carlo Scarpa… Albert was also a trumpet player (1962–64),〔''Dictionnaire du jazz'', Sous la direction de Philippe Carles, Jean-Louis Comolli et André Clergeat. Éditions Robert Laffont, coll. "Bouquins", 1994〕 joining Henri Texier’s quintet with Alain Tabarnouval in the beginnings of Free Jazz.〔(''Cité de la Musique'' )〕 The group performed in clubs, festivals and concerts.〔(Musique Française )〕 In 1975 he initiated the group show ''Serres'' in François Horticultural Greenhouses, Magny-in-Vexin.〔Michel Cosnil-Lacoste,'' Cimaises en rase campagne'', ''Le Monde'', 7 July 1975〕 Sculptor Mark di Suvero invited him to New York, the first of many visits to United States. In 1981 he met Sara Holt, whose sculpture and photographs were inspired by astronomy. They collaborated and carried out various public art projects.〔Bruno Suner, ''Relier ciel et ville'', Urbanisme n°219, 1987〕 Travels in Europe, North Africa, Middle East.〔Realization for the French Cultural Center in Damascus, Syria, 1986〕 With Claude Faure, Piotr Kowalski, Piero Gilardi, he took part in the group Ars Technica (dedicated to art / science and new technologies). In 1990, he was commissioned by the architects Wylde-Oubrerie as collaborating artist for the realisation of Miller House〔''Miller House'' ''Miller House'', GA n°35, July 1992. (in English)〕 in Lexington. Then invited to give lectures and workshops for the University of Architecture of Kentucky and then for the Art Center of Design in Pasadena. Edgar Varese, in his comments, often refers to solid geometry〔Philippe Lalitte, « Rythme et espace chez Varèse », Filigrane (),〕 and György Ligeti to static music.〔Un entretien entre György Ligeti et Josef Häusler « d’''Atmosphères à Lontano''», La musique en jeu, Editions du Seuil, 1974〕 His experience in the musical field enabled Jean-Max Albert to exchange on these subjects with musicians such as : György Ligeti, Steve Lacy, Barney Wilen, François Tusques.〔Jedediah Sklower, ''Free Jazz, la catastrophe féconde'', L'Harmattan, Paris, 2006〕 He creates monumental trellis-works : ''Iapetus'' (1985) which refers to the structure of Thelonious’s Monk ‘’Mysterioso’’ »,〔Michel Ragon, ''Jean-Max Albert «Iapetus»'', L’art abstrait vol.5, Éditions Maeght, Paris, 1989〕 ''Ligeti'' (1994), which refers to Ligeti’s «static sonorous surfaces». A book and exhibition followed : ''Thelonious Monk Architecte'' (2001). A collaboration with pianist and composer François Tusques results in 80 short films: ''Around the Blues in 80 Worlds'' (2008).〔https://www.youtube.com/channel/UCDO-l2wLNS9uiVOueyhp_mQ〕〔http://issuu.com/pauldavidkahn/docs/new_2005_2〕 With Jean-claude Mocik, he is coauthor of the project ''Midi-Pile'' started in 1994.〔http://www.artshebdomedias.com/article/291210-jean-claude-mocik-artiste-est-mort-vive-artiste?page=0〕 Beside sculptures related to music, he conceived a project dedicated to the vegetation itself, in terms of biological activity. The utopian ''Calmoduline Monument'' is based on the property of a protein, calmodulin, to bond selectively to calcium. Exterior physical constraints (wind,rain, etc.) modify the electric potential of the cellular membranes of a plant and consequently the flux of calcium. However, the calcium controls the expression of the calmoduline gene. The plant can thus, when there is a stimulus, modify its « typical » growth pattern. So the basic principle of this monumental sculpture is that to the extent that they could be picked up and transported, these signals could be enlarged, translated into colors and shapes, and show the plant’s « decisions ». This permanent show, installed in a public place, would suggest a level of fundamental biological activity.〔(''Space in profile/ L'espace de profil,'' )〕〔Intra-and Intercellular Communications in Plants, Millet & Greppin Editors, INRA, Paris, 1980, p.117 (in English) 〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jean-Max Albert」の詳細全文を読む スポンサード リンク
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