It is not easy to separate Pablo Boneu's work (Argentina, 1969) from his own life. In this sense, he is an artist who uses different genres and expressive mediums, and is not limited to exposing his finished products, a bell that is constantly questioning himself. However, differentiating it from many contemporary artists, their intention for the process of creation, as a vital experience, is closely linked to the obsession for presenting a finished product, coherent in their achievement.
So in their work they are combined with the critical impulses: on the one hand, the idea of production as a serial repetition of the same object and, on the other hand, the traditional idea of a work of art as a handmade fetish. The tension thus originated by this double criticism is visible in all his productions, and it configures what could stand out, but that style, a Boneu world, a proper way of making art and being an artist.
In the midst of the 90s, along with his intense activity of graphic guerrilla warfare, Boneu begins to expose his work in museums and art galleries; from the Recoleta Cultural Center and the AECI (Spanish Agency for Ibero-American Cooperation) in Argentina, there is the Imaging Center and the Hilario Galguera Gallery in Mexico. Its works are impiezan to be demanded by private collectors who at times disconcert before the impossibility to acquire some pieza with traditional diner. Those who access the game are willingly converted into devices that complete the broader sense of the works.
More than filming, photographing, contributing to scribing, Boneu devises structures. A very particular class of structures, which are once closed and opened. They are closed because they have a rigorous internal coherence and open because they can proliferate indefinitely. It would not be too much to say that Boneu's works are governed by the aspiration of never ending, of mingling with and assimilating with them, in order to transform them into another world, yet unaware.