Salvador Servín, also known as Sal in his artistic work, is a graduate of the Escuela Nacional de Artes Cinematográficas (National School of Cinematographic Arts). He has collaborated with institutions such as the Deutsche Film- und Fernsehakademie Berlin (DFFB), Centro, and Universidad Iberoamericana.
Salvador has exhibited his work at the Gasteig Kulturzentrum in Munich, Germany, as part of Spielart – Art in Resistance. In Mexico, his work has been shown at venues such as the Centro de las Artes San Luis Potosí “Centenario”, PISO 16, and the Mutek Festival. His productions have also been presented at the Guanajuato International Film Festival, Cineteca Nacional de México, and the Centro de Cultura Digital as part of Inmersiva 3.
Salvador Servín has been awarded the Jóvenes Creadores grant from FONCA (2016) and was selected for the ACT (Art, Science and Technology) program by FONCA and UNAM in 2019.
Early days
Salvador joins the photography club at the Jaime Torres Bodet Cultural Center, where he holds his first amateur exhibitions. Alongside learning about film developing and traditional techniques, he begins producing his first photographic series
He later earns a place at the National School of Cinematographic Arts, where he specializes in film directing, a path that leads him to professionalize his artistic practice.
Upon entering the film program at UNAM, he develops a natural inclination toward documentary cinema, drawn by its powerful ability to capture reality as opposed to fiction. There, he creates his first documentary short film, which allows him to explore political, graphic, and technological themes—elements that would become constants in his future work
IF WE DO NOT BURN, WHO WILL ILLUMINATE THIS DARKNESS – Documentary - SALVADOR SERVIN
Mexico’s history has been shaped by activism grounded in graphic art as a major pillar. From the Revolution through the Mexican Muralist movement, symbols have played a key role in political struggle. However, in 1968, the student movement turned the poster into its main form of expression—somewhat removed from nationalism clásico, reconstruyendo el agitar revolucionario que caracterizó el final de la década de 1960; el segundo cisma de la gráfica política es definitivamente durante la explosión del #YoSoy132, pues mientras que en el 68 el acceso a los materiales era costoso, obligando a ser altamente efectivos en el mensaje y distribución, en el caso del cartel #YoSoy132 durante 2012, tuvo una gran efervescencia a través de un canal muy difícil de controlar en ese tiempo por el gobierno o los medios de comunicación hegemónicos, las redes sociales.
Listen to Salvador Servin’s interview on the podcast Nosotros te llamamos.
"La frontera es la realidad virtual"
Chameleon
Realidad mixta
For this reason, Salvador becomes influenced by advanced uses of the image. In 2015, he begins collaborating on the project ‘Chameleon’, an immersive and sensory portrait of people native to Mexico. The piece weaves together sounds, images, and stories set in scenes throughout Mexico City, supported by the British Council, Mutek, and Marshmallow Laser Feast. The installation maps real locations, and through photogrammetry reconstruction, creates 3D-printed busts.
The Reserve of the Senses- REALIDAD VIRTUAL
La Reserva de los sentidos
- Protected reserves
- Virtual Reality
- Mexican species and ecosystems
The Reserve of the Senses defies our central human reality, immersing users in a new dimension where they are transformed into 'species'
The ecosystem of Pedregal was formed between 245 and 315 A.D., when lava from the Xitle volcano erupted, covering the pre-Hispanic cities of Copilco and Cuicuilco.
In 2021, he participated in the project Acuiferal finalist of Flash Act, an initiative in collaboration with the Goethe-Institut Mexiko, IFAL-Institut Français D’Amérique Latine, Centro Cultural de España de México and the Centro de Cultura Digital, supported by the Cluster Fund de EUNIC – European Union National Institutes for Culture.