PRACTICE FOR THE LOVE OF THEORY

    

Maxime Prananto runs an artistic design and production practice. It intervenes in the domain of architecture and infiltrates art spaces. The practice consists of public and private commissions as well as autonomous work. It sometimes functions as a production studio for other artists and makers.

The practice deals with the simultaneous conception and production of objects, scenography, furniture, exhibitions and sculpture. While its output is varied, each undertaking relies on a voluntary set of conceptual and physical boundaries. This practice attempts to reserve a substantial portion of its efforts for theory and reflection.

Underlying themes of the practice include manufacturing, logistics and iconography in the built environment. The attempt within the practice is for work to materialize intelligently within certain circumstances and references without the result of a self-intelligent work. In this sense, the aim is to be neutral and to propose a matter-of-factness about the conditions in which work is being made. Nevertheless, all interventions reflect a sensitivity to the beauty of constraints and gather meaning throughout the entirety of their process. 

This practice is linked to several courses and studios in architecture and interior architecture at the University of Leuven.


It Never Ends
2020-2021 


KANAL Centre Pompidou, Brussels
Maxime Prananto as part of Bureau Barbier Bouvet

Public ground floor design: entrance furniture, café, ticketing
On site found materials, custom frames The interventions on the ground floor of KANAL - Centre Pompidou display a closed loop process of materialization. Different functions, such as ticket offices, wardrobe, bookshop, public furniture, café and tea room adopt a common language. Their language refers to the essence of a scenography, in the sense of a staged reality, but also to its physical context by reusing the building’s discarded materials. 

While the café reinterpretes a favorite tea room of John Armleder’s, the ticket office and public benches recreate the environment of Geneva’s bus and train terminals.

The interventions ride a difficult line between adding to an artist’s solo show and intervening in the museum as a general public space.
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