The world of Maxime Rossi, lives and works in Paris) simultaneously summons up a kinetic duvet cover, a philosophical bagel, floral condoms, or indeed arbitrary scores by Frédéric Chopin, all of them unlikely telescopings that allow him to be part of a poetry of language, where semantics and art history are constantly roughed up, not without humor.

In Père Lachaise, 2011, Maxime Rossi scatters marks over Frédéric Chopin’s scores, heightening the famous pianist’s romantic image: Thus the artist has tied colored felt-tip pens to the branches of thewillow above Chopin’s tomb at Père Lachaise cemetery. As the wind blows, spots of colors form haphazardly, like a drip painting orchestrated by the tree. Maxime Rossi works at the limits, thereby generating large, dangerous, but subtle gaps between practices and elements that have nothing to do with one another. Whether perpetuating an effervescent Aspirin in sculpture (True Spirit [Aspirin], 2002) or transforming snails into abstract painters (Glissement, 2008), Maxime Rossi likes turning situations upside down, injecting irony into logic and control that a priori seem relentless.