Since the late nineties, the young Mexican artist has been establishing a relationship with photography in his work. With a regard for the aesthetics and the conceptual practices of the sixties and seventies, Iñaki Bonillas has been gradually isolating the constituent elements of photography and connecting them with other procedures.
In 2003 Iñaki Bonillas started introducing the vast photo archives of his grandfather, J.R. Plaza, into his work. Since then, he has been working on different projects that link elements together that seem a priori incompatible: on the one hand a personal, biographical narrative that consists of private anecdotes and emotions, and on the other a quasi-scientific element of compilation, classifying and archiving.
Since 2000, Iñaki Bonillas has been showing in museums and art centers in America and Europe. Among his exhibitions are: Bibliotecas insólitas, La Casa Encendida, Madrid, Spain (2017); Secretos, Estancia Femsa/Casa Luís Barragán, Mexico City (2016); The Infinite Relation in Difference, DUM Project Space, Ljubljana, Slovenia (2016); Crisis of Presence, Pori Art Museum, Finland (2016); Strange Currencies: Art & Action in Mexico City, 1990-2000, The Galleries at Moore, Philadelphia, Pensilvannia (2015); Rumors of the Meteor, Frac Lorraine, Metz, France (2014); Punctum, Salzburger Kunstverein, Austria (2014); El cuento del barco que se hunde, que es un barco y a la vez no lo es, Liga, Mexico City (2013); Paint it Black, FRAC Île de France, Le Plateau, Paris, France (2013); Arxiu J. R. Plaza, La Virreina Centre de la Imatge, Barcelona, Spain (2012); La inminencia de las poéticas, 30th São Paulo Biennial, Brazil (2012); Poule!, Colección Jumex, Mexico City, México (2012); Resisting the Present, Museo Amparo, Puebla, Mexico and Musée d’Art moderne de la Ville de Paris, France/ ARC (2011 y 2012); Little Theater of Gestures, Kunstmuseum Basel, Switzerland and Malmö Konsthall, Sweden (2009); Intervención al pabellón, Pabellón Mies van der Rohe, Barcelona, Spain (2005); Little History of Photography, MUHKA, Antwerp, Belgium (2003); Utopia Station, 50th Venice Biennial, Italy (2003) and Locus Focus, Sonsbeek 9, Arnhem, Holland (2001).
His work is part of the following public collections: Museo Amparo, Museo Tamayo and MUAC, Mexico; Centro Galego de Arte Contemporánea de Santiago de Compostela, MUSAC in León, MACBA in Barcelona, all in Spain; MoMA, New York; Musée Départemental d’Art Contemporain de Rochechouart, FRAC Lorraine de Metz, FRAC Île-de-FRANCE/Le Plateau, and CNAP, all in France.