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.


Schöne Sentimenten
2019 


Museum Dhondt-Dhaenens, Deurle BE
A show curated by Charlotte Crevits

Scenography - Exhibition design
With Schöne Sentimenten, Museum Dhondt-Dhaenens brings the potential of its collection to the fore. In the exhibition, core works from the museum's collection enter into dialogue with works from private collections that the MDD currently manages or would like to manage in the future. Therefore, The whole is not a classical but an imaginary collection presentation. Real works of art are combined with ‘absent’ works to emphasise the displayed collections' importance, capacity and possibilities.

A particular perspective


The core of the exhibition consists of pieces from Museum Dhondt-Dhaenens, Matthys-Colle and Cooreman collections, each of which played an important role in the acceptance of modern and contemporary art in Flanders. Together they virtually span the entire 20th century and, as a whole, provide a particular perspective on different styles, genres and movements, ranging from Flemish Modernism from the museum's own collection to post-war Belgian and American art from the Matthys-Colle collection and contemporary, global art from the Cooreman collection.

Schöne Sentimenten refers to an eponymous edition by artist Jan Vercruysse, which is given a central place in the exhibition. The title implicitly alludes to the beauty, but also the fragility of a museum collection. This suggestive collection presentation, placed in an individual scenography by Maxime Prananto, including the enormous series of posters by Michel François that are hung in and around the MDD, raises questions and provides possible solutions for the future of these collections.
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