BIO: Carlos Salom Freixas, Mexican visual creator
. He delves into the art world in the late 80s, starting with the Active School of Photography and performance art as a member of the Sindicato del Terror alongside Roberto Escobar and Salvador Parra. They evoke irreverent and visually striking images through interventions in spaces, expanding the creative experience by blending techniques, disciplines, and genres.
With his performance piece titled "TV Philco Mod. 4407," he ventures into the Carrillo Gil gallery, creating a totem of televisions emerging from a mountain of motor gears and car parts. His career as a video artist solidifies in the 90s with the Young Creators Grant, exhibitions, recognitions, and the acquisition of two video pieces, "Violencia sin guión" and "La Fabrica del desecho," for the private collection of the Carrillo Gil Museum.
He worked as a photographer for MTV News N.Y. with the producer Lynn Fainchtein. In the mid-90s, he begins working in the film industry in the art department, contributing as a painter in projects like Guillermo del Toro's "Cronos," as a set dresser in "Managua," as a leadman in Baz Luhrmann's "Romeo and Juliet" and "The Mask of Zorro," and as a construction coordinator in Alex de la Iglesia' "Perdita Durango," among others.
Driven by his passion for cinema and art, in the early 2000s, he co-founded Hartos Indios with Carlos Taibo, where he created and led the Special Productions section. In this role, he coordinated the realization and installation of Jannis Kounellis' works in Mexico at the former convent of San Agustin, produced projects for Sheeren Nesshat and Darius Kondji in the Tooba project in Oaxaca, and produced for Erik van Lieshout in his project "Mari Achi D.F."
He specialized in and coordinated train scenes for films like "Bandidas" and "La Cristiada" in Durango. Carlos Salom Freixas studied in workshops at the Centro de la Imagen with Joshua Okon, Joan Lifting, Chanarin / Broomberg, Susan Klecner, completed the Modern Art and Ideas Diploma program offered by MOMA, attended photography seminars with Pedro Meyer, participated in a photobook workshop with Jesus Mico - Hydra, and took part in the expanded documentary workshop with Pablo Martinez Zarate. Currently, he is enrolled in the Literary Workshop of Stories at Editorial Fá.
As an Art Director and Production Designer, Carlos Salom Freixas embarked on a new phase of his film career with projects like the critically acclaimed short film "La leche y el Agua" and the feature film "Bala mordida." In 2014, he directed a documentary about the national team's technical director and their journey in the Brazil World Cup, providing an anthropological perspective on a Mexico thirsty for victory. He also worked on the making-off of Peter Greenaway's "Eisenstein in Guanajuato."
In 2018-2019, he served as an Art Director stand-by for the series "Narcos 5."
Starting in 2019, worked as a promotional photographer and explored new languages in projects with Netflix,
Lemon, Amazon, Paramount, and others.
From 2019 to 2021 worked as a producer with his brother Rodrigo Salom on their videomapping project
"El Señor de los visuales."
In 2021, he was invited by UNAM to collaborate with choreographer Andrea Chirinos on a video piece for International Dance Day. As a producer and photographer, he worked with Luciano Matus on their project "Hoover Dam-Venecia." That same year, he was invited by Gabriela Gonzales Reyes to be part of the Fotobservatorio del patrimonio fotográfico mexicano (Photographic Heritage Photobservatory). Currently, he directs his own projects as a creator, exploring the generation of sensations through photography, videos, readymades, and also teaches courses on Introduction to Art Direction, Art Direction, and Video Art in film programs at various institutions.
"The combination of the knowledge of these professions has resulted in a unique style of approaching each project, globally and differently, enriching and empowering it."