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iñaki bonillas

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trabajos fotográficos, 1998/2008

set de 4 álbumes con impresiones fotográficas manuales a color sobre papel de resina; mesa de madera

mesa: 75 x 175 x 100 cm, álbum combinaciones: 36 x 35 x 6.5 cm

pequeña historia de la fotografía ii, 2003

630 slides, 30 light boxes

11 x 33.5 x 4.7 inches each box

pequeña historia de la fotografía ii, 2003

630 slides, 30 light boxes

11 x 33.5 x 4.7 inches each box

filatelia, 2011

20 digital prints on photographic paper; wooden shelves

1 x 9.4 x 3.7 inches each

filatelia, 2011

20 digital prints on photographic paper; wooden shelves

1 x 9.4 x 3.7 inches each

crucigrama # 15, 2015

silver gelatin print on fiber base paper; c-print on resin coated paper

15.4 x 14.2 inches

crucigrama # 7, 2015

silver gelatin print on fiber base paper; c-print on resin coated paper

15.4 x 14.2 inches

the encyclopedia of the dead: darwin, 2012

set of 71 laminated ink-jet prints mounted on wood

5.9 x 5.9 x .8 inches each

the encyclopedia of the dead: darwin, 2012

set of 71 laminated ink-jet prints mounted on wood

5.9 x 5.9 x .8 inches each

a storm of secondary things # 5, 2012

photogravure on hahnemühle paper

11 x 8.7 inches

a storm of secondary things # 11, 2012

photogravure on hahnemühle paper

13.8 x 11.8 inches

(détail): blue, 2013

digital prints, book pages, wooden shelf

59 x 222.8 inches

(détail): red, 2013

digital prints, book pages, wooden shelf

59 x 131.1 inches

transparencias, 2014

set of 6 double-sided silk-screen prints on tissue paper

21.7 x 15 inches each

el cid, 2012

set of 10 oil paintings on maple wood, 1 hand-painted text on wall, 15 framed ink-jet prints

67 x 67 x 1.2 inches

the duel, 2011

9 ink-jet prints on baryta paper

17 x 31.5 inches each

george w. rollins, 2015

hand-colored silver gelatin photographs on fiber base paper; risograph prints with a silk-screen coat on paper

64.2 x 56.3 inches

george w. rollins, 2015

hand-colored silver gelatin photographs on fiber base paper; risograph prints with a silk-screen coat on paper

64.2 x 56.3 inches

a sombra e o brilho, 2007

set of 74 typewritten texts on paper; set of 24 kodalith images in light boxes

7.7 x 5.1 inches each paper; 12 x 16.5 x 1.2 inches each box

a sombra e o brilho, 2007

set of 74 typewritten texts on paper; set of 24 kodalith images in light boxes

7.7 x 5.1 inches each paper; 12 x 16.5 x 1.2 inches each box

long day’s journey into night, 2013

set of 12 ink-jet prints on cotton paper

79 x 173 inches

días de campo, 2011

set of 40 ink-jet prints on cotton paper

14.6 x 13.8 inches each

días de campo, 2011

set of 40 ink-jet prints on cotton paper

14.6 x 13.8 inches each

tineidae # 1, 2010

gelatin silver print on fiber base paper

10.4 x 8.5 inches

tineidae # 18, 2010

silver gelatin print on fiber base paper

11.7 x 11.5 inches

the rain came last, 2013

silver gelatin print on fiber base paper

20 x 24 inches

the rain came last, 2013

silver gelatin print on fiber base paper

24 x 20 inches

las ideas del espejo: visiones de tánger, 2014

ink-jet print on cotton paper

23.6 x 15.5 inches

las ideas del espejo # 4, 2014

set of 2 silver gelatin prints on rc paper

30 x 37.8 inches each

escritura nocturna # 8, 2016

photogravure print on cotton paper

22.8 x 16.7 inches

escritura nocturna # 13, 2016

photogravure print on cotton paper

16.7 x 22.8 inches

figuras del pensar: el libro vacío, 2013

Set of 19 ink-jet prints on cotton paper

8.3 x 5.1 inches each

figuras del pensar: el libro vacío, 2013

Set of 19 ink-jet prints on cotton paper

8.3 x 5.1 inches each

the encyclopedia of the dead: blas cubas library, 2012

mdf cabinet, reading lamp, 41 leather-bound books, 17 silk-screen printed postcards, 1 sound piece

84.6 x 47.2 x 47.2 inches

the encyclopedia of the dead: blas cubas library, 2012

mdf cabinet, reading lamp, 41 leather-bound books, 17 silk-screen printed postcards, 1 sound piece

84.6 x 47.2 x 47.2 inches

la idea del norte: fuga, 2014

set of 2 digital prints on cotton paper

68.9 x 94.1 inches

la idea del norte: fuga, 2014

set of 2 digital prints on cotton paper

68.9 x 94.1 inches

collages: gedrim-steichen, 2011

ink-jet print on cotton paper

32 x 27.7 inches

collages: baudelaire-talbot, 2011

ink-jet print on cotton paper

27.2 x 37.8 inches

la vuelta al origen # 3, 2010

placa fotográfica en caja de luz de madera; impresión digital sobre papel de algodón en caja de madera

34.4 x 29.6 x 13 cm cada caja

la vuelta al origen # 9, 2010

pantalla con video sin sonido en caja de madera; película 35 mm en caja de luz de madera

27.5 x 34.5 x 13 cm y 35.9 40.6 x 13 cm cada caja respectivamente

secretos: huellas 1, 2016

set of 10 ink-jet prints on cotton paper

26 x 34.2 inches each

secretos: huellas 1, 2016

set of 10 ink-jet prints on cotton paper

26 x 34.2 inches each

secretos: linterna mágica, 2016

set of 20 ink-jet prints on cotton paper

11 x 16.5 inches each

secretos: linterna mágica, 2016

set of 20 ink-jet prints on cotton paper

11 x 16.5 inches each

secretos: inversiones, 2016

set of 3 ink-jet prints on cotton paper

23.6 x 15.7 inches each

secretos: jardín 1, 2016

set of 4 ink-jet prints on cotton paper

11.8 x 17.7 inches each

secretos: jardín 1, 2016

set of 4 ink-jet prints on cotton paper

11.8 x 17.7 inches each

like sparrows around a pool of water, 2016

set de 20 impresiones ultravioleta sobre cristal extra-claro

45 x 45 cm cada cristal; conjunto: 85.8 x 283.8 x 148.2 cm

like sparrows around a pool of water, 2016

set de 20 impresiones ultravioleta sobre cristal extra-claro

45 x 45 cm cada cristal; conjunto: 85.8 x 283.8 x 148.2 cm

image

trabajos fotográficos, 1998/2008

set de 4 álbumes con impresiones fotográficas manuales a color sobre papel de resina; mesa de madera

mesa: 75 x 175 x 100 cm, álbum combinaciones: 36 x 35 x 6.5 cm

image

pequeña historia de la fotografía ii, 2003

630 slides, 30 light boxes

11 x 33.5 x 4.7 inches each box

image

pequeña historia de la fotografía ii, 2003

630 slides, 30 light boxes

11 x 33.5 x 4.7 inches each box

image

filatelia, 2011

20 digital prints on photographic paper; wooden shelves

1 x 9.4 x 3.7 inches each

image

filatelia, 2011

20 digital prints on photographic paper; wooden shelves

1 x 9.4 x 3.7 inches each

image

crucigrama # 15, 2015

silver gelatin print on fiber base paper; c-print on resin coated paper

15.4 x 14.2 inches

image

crucigrama # 7, 2015

silver gelatin print on fiber base paper; c-print on resin coated paper

15.4 x 14.2 inches

image

the encyclopedia of the dead: darwin, 2012

set of 71 laminated ink-jet prints mounted on wood

5.9 x 5.9 x .8 inches each

image

the encyclopedia of the dead: darwin, 2012

set of 71 laminated ink-jet prints mounted on wood

5.9 x 5.9 x .8 inches each

image

a storm of secondary things # 5, 2012

photogravure on hahnemühle paper

11 x 8.7 inches

image

a storm of secondary things # 11, 2012

photogravure on hahnemühle paper

13.8 x 11.8 inches

image

(détail): blue, 2013

digital prints, book pages, wooden shelf

59 x 222.8 inches

image

(détail): red, 2013

digital prints, book pages, wooden shelf

59 x 131.1 inches

image

transparencias, 2014

set of 6 double-sided silk-screen prints on tissue paper

21.7 x 15 inches each

image

el cid, 2012

set of 10 oil paintings on maple wood, 1 hand-painted text on wall, 15 framed ink-jet prints

67 x 67 x 1.2 inches

image

the duel, 2011

9 ink-jet prints on baryta paper

17 x 31.5 inches each

image

george w. rollins, 2015

hand-colored silver gelatin photographs on fiber base paper; risograph prints with a silk-screen coat on paper

64.2 x 56.3 inches

image

george w. rollins, 2015

hand-colored silver gelatin photographs on fiber base paper; risograph prints with a silk-screen coat on paper

64.2 x 56.3 inches

image

a sombra e o brilho, 2007

set of 74 typewritten texts on paper; set of 24 kodalith images in light boxes

7.7 x 5.1 inches each paper; 12 x 16.5 x 1.2 inches each box

image

a sombra e o brilho, 2007

set of 74 typewritten texts on paper; set of 24 kodalith images in light boxes

7.7 x 5.1 inches each paper; 12 x 16.5 x 1.2 inches each box

image

long day’s journey into night, 2013

set of 12 ink-jet prints on cotton paper

79 x 173 inches

image

días de campo, 2011

set of 40 ink-jet prints on cotton paper

14.6 x 13.8 inches each

image

días de campo, 2011

set of 40 ink-jet prints on cotton paper

14.6 x 13.8 inches each

image

tineidae # 1, 2010

gelatin silver print on fiber base paper

10.4 x 8.5 inches

image

tineidae # 18, 2010

silver gelatin print on fiber base paper

11.7 x 11.5 inches

image

the rain came last, 2013

silver gelatin print on fiber base paper

20 x 24 inches

image

the rain came last, 2013

silver gelatin print on fiber base paper

24 x 20 inches

image

las ideas del espejo: visiones de tánger, 2014

ink-jet print on cotton paper

23.6 x 15.5 inches

image

las ideas del espejo # 4, 2014

set of 2 silver gelatin prints on rc paper

30 x 37.8 inches each

image

escritura nocturna # 8, 2016

photogravure print on cotton paper

22.8 x 16.7 inches

image

escritura nocturna # 13, 2016

photogravure print on cotton paper

16.7 x 22.8 inches

image

figuras del pensar: el libro vacío, 2013

Set of 19 ink-jet prints on cotton paper

8.3 x 5.1 inches each

image

figuras del pensar: el libro vacío, 2013

Set of 19 ink-jet prints on cotton paper

8.3 x 5.1 inches each

image

the encyclopedia of the dead: blas cubas library, 2012

mdf cabinet, reading lamp, 41 leather-bound books, 17 silk-screen printed postcards, 1 sound piece

84.6 x 47.2 x 47.2 inches

image

the encyclopedia of the dead: blas cubas library, 2012

mdf cabinet, reading lamp, 41 leather-bound books, 17 silk-screen printed postcards, 1 sound piece

84.6 x 47.2 x 47.2 inches

image

la idea del norte: fuga, 2014

set of 2 digital prints on cotton paper

68.9 x 94.1 inches

image

la idea del norte: fuga, 2014

set of 2 digital prints on cotton paper

68.9 x 94.1 inches

image

collages: gedrim-steichen, 2011

ink-jet print on cotton paper

32 x 27.7 inches

image

collages: baudelaire-talbot, 2011

ink-jet print on cotton paper

27.2 x 37.8 inches

image

la vuelta al origen # 3, 2010

placa fotográfica en caja de luz de madera; impresión digital sobre papel de algodón en caja de madera

34.4 x 29.6 x 13 cm cada caja

image

la vuelta al origen # 9, 2010

pantalla con video sin sonido en caja de madera; película 35 mm en caja de luz de madera

27.5 x 34.5 x 13 cm y 35.9 40.6 x 13 cm cada caja respectivamente

image

secretos: huellas 1, 2016

set of 10 ink-jet prints on cotton paper

26 x 34.2 inches each

image

secretos: huellas 1, 2016

set of 10 ink-jet prints on cotton paper

26 x 34.2 inches each

image

secretos: linterna mágica, 2016

set of 20 ink-jet prints on cotton paper

11 x 16.5 inches each

image

secretos: linterna mágica, 2016

set of 20 ink-jet prints on cotton paper

11 x 16.5 inches each

image

secretos: inversiones, 2016

set of 3 ink-jet prints on cotton paper

23.6 x 15.7 inches each

image

secretos: jardín 1, 2016

set of 4 ink-jet prints on cotton paper

11.8 x 17.7 inches each

image

secretos: jardín 1, 2016

set of 4 ink-jet prints on cotton paper

11.8 x 17.7 inches each

image

like sparrows around a pool of water, 2016

set de 20 impresiones ultravioleta sobre cristal extra-claro

45 x 45 cm cada cristal; conjunto: 85.8 x 283.8 x 148.2 cm

image

like sparrows around a pool of water, 2016

set de 20 impresiones ultravioleta sobre cristal extra-claro

45 x 45 cm cada cristal; conjunto: 85.8 x 283.8 x 148.2 cm

iñaki bonillas
* 1981, Mexico City


Since the late nineties, Iñaki Bonillas has established a deep relationship with photography in his work: with a regard for the aesthetics and the conceptual practices of the sixties and seventies, he has been gradually isolating the constituent elements of photography and connecting them with other procedures. Printmaking as a means of transforming archival material is a central focus in Iñaki Bonillas’s practice. By reframing and editing found imagery, and subsequently creating a sense of permanence through the repetition and multiplication inherent to printmaking, he is able to firmly transform his interpretations into a new reality. He gives physical form to the deep-rooted —and often subconscious— process of self-editing we perform throughout our lives. Iñaki Bonillas links elements that are a priori incompatible: a personal, biographical narrative that consists of private anecdotes and emotions on one hand, and the quasi-scientific practices of compiling, classifying, and archiving on the other. In 2003, he introduced the photographic archive belonging to his grandfather, José Rodríguez Plaza, into his work; since that time, its content has undergone a wide range of operations: his grandfather’s black and white photographs are transformed into new narratives, leading us to question our relationship to memory and reality, and the troubling incompatibility that arises between these two defining components of our personal identities. Bonillas's print projects focus on photography as part of our daily lives, consciousness and memory —the vast archive that defines us as individuals. By questioning the editing of the world that all of us constantly perform, his photographic works evoke the impossible relationship between reality and memory, and the power of the image itself.


Iñaki Bonillas’s first exhibition at kurimanzutto explores and interrogates what painter and filmmaker Robert Bresson called “the intelligence of the hands.” The artist is interested in studying the ability of hands to automatically and instinctively create objects. In this vein, Bonillas investigates how these abilities are slowly disappearing due to increasing technological evolution and the loss of manual skills.


The name of the exhibition comes from a title of a 1946 text by Hannah Arendt1. In “No Longer, Not Yet,” Arendt explains the existence of a no man's land—an empty space— where
things from the past don’t disappear but continue to exist in a placeless and timeless state. Bonillas’s practice employs manual techniques related to analog photography that are becoming more and more archaic and rare. Like the disappearing complexity of a type-face printing press or a film camera, a single button increasingly achieves what trained and skilled hands only recently took years to learn.


Ya no, todavía no (No Longer and Not Yet) explores the artisanal production of a book—with the merging of various work processes—as the axis of reflection for the entire project. Bonillas worked with an extensive team of collaborators in Mexico City to produce the works for this
show. Specializing in papermaking, heliogravure, movable typefaces, darkroom photo development, illuminated manuscripts, and book binding, the anachronistic skills of these artisans contributed to the resulting investigation.


Within the gallery space, the exhibition is organized by a series of dividing screens superimposed on each other, both veiling and unveiling parts of the exhibition. By hiding and
revealing selected components Bonillas highlights the processes involved in creation of a book, and the numerous, invisible hands that participate in its production. Bonillas pays tribute to all the unseen hands that allow not only the creation of a book (The Book of Processes, 2018), but also the assembly of an elaborate art exhibition. It is essentially a type of farewell to a hand-operated language which, today, has very little to do with the carrying out of various processes for the creation of books, images, and prints.

about the artist

Among Iñaki Bonillas’s most recent solo exhibitions are: Secrets, as part of Estancia Femsa, Casa Luis Barragán, Mexico City (2017) and Arxiu J. R. Plaza, La Virreina Centre de la Imatge, Barcelona (2012). His work has also been included in exhibitions and institutions such as Strange Currencies: Art & Action in Mexico City, 1990-2000, The Galleries at Moore, Philadelphia (2015); Punctum, Salzburger Kunstverein (2014); The Imminence of Poetics, 30th São Paulo Biennial (2012); Beyond, KUMU Art Museum, Tallin (201 1); Poule!, Jumex Collection, Mexico City (2012); Resisting the Present, Amparo Museum, Puebla, Musée d'Art Moderne de la Ville de Paris (201 1 & 2012); Little Theater of Gestures, Kunstmuseum Basel and Malmö Konsthall (2009); Intervention to the Pavilion, Mies van der Rohe Pavilion, Barcelona (2005); Little History of Photography, MUHKA, Antwerp (2003); Utopia Station, 50th Venice Biennial (2003) and Locus Focus, Sonsbeek 9, Arnhem (2001).


Iñaki Bonillas lives and works in Mexico City.