New York City-based Chilean Artist, Filmmaker (and Journalist).
As of December 2025, I am an MFA graduate of the Integrated Media Arts program, at Hunter College.
I currently run Panflute.nyc.
Resume and more info about me, here.
Interactive Installation: Self-Surveil Station (2025)
Self-Surveil Station, 2025
Installation, Prints on Photographic Paper
On view from September 12 to November 12, 2025.
Camilo Salas’s interactive installation Self-Surveil Station places the viewer in the role of the surveiller: seated at a desk, facing multiple screens that mimic a control room. But the system is inverted — instead of watching others, the cameras point back at them. As soon as the audience steps in front of the installation, they are confronted with a series of live video feeds of themselves. Their bodies and faces are captured and processed in real time by a variety of systems that detect biometric traits. The installation reveals the subtle threat of constant digital observation, where being looked at becomes an act of vulnerability.
Presented alongside this is a second piece: a face-matching algorithm that compares the viewer’s face to a curated database of tech moguls, surveillance capitalists, and enforcers. The system identifies the closest match and displays the viewer’s percentage of similarity, along with a brief description of how that individual has influenced global surveillance practices.
Self-Surveil Station reflects on power and resemblance, prompting viewers to meditate on whether simply being observed — even unknowingly — ties them to the mechanisms of surveillance.
The installation also features a series of 35mm photographs taken by the artist across New York City. These analog street images are run through a custom object-recognition pipeline. Misapplied to urban textures and architecture, the system assigns moods, ages, and identities to inanimate objects, revealing the absurdities and blind spots in how computer vision interprets the world.
Together, these works invite viewers to reflect on how surveillance technologies see, mis-see, and implicate us all
~80 μA: Connecting the Body Electric, a group exhibition featuring selected works by five Chilean artists. This project explores nature, technology, and identity through the lens of Chilean new media art, challenging binary thinking by presenting technological and biological systems as a dynamic, fluid processes of transformation.
Artists: Natalia Cabrera, Juan Ferrer, Luca Lee, Hector Llanquín, Camilo Salas.
Press Release.
Minimal Gallery.
Documentary: Computer Vision (2024)
Music: Denver
Computer Vision (2024, 39 min) is a Student Film showing my explorative journey to the pervasive world of surveillance in New York City.
Guided by a local organization, I try to uncover the flaws of constant monitoring in public and private spaces, investigating how politicians address the issue, and using art as a powerful tool of resistance in a society shaped by overseeing.
Computer Vision, was part of the Official Selection at the 2025 Films of the Future Festival in Santiago, Chile. The film also screened in Berlin, Germany, and was featured in the 2025 Visions du Réel Film Market in Nyon, Switzerland.
Photography: Open CV, pytesseract + 35mm film (2024)
Video: Tell Me What You See (With Your Robot Eyes) – 2024
Single-channel video, color
Continuous loop
Documentary: A Socialist Dream (2023)
A Socialist Dream, was selected for the 2024 CUNY Film Festival in New York.
Publication: Amundo (2022)
AMUNDO it’s a compendium of Camilo Salas street photography from 2019 to 2022 mostly in New York, but also in Italy and Los Angeles.
The publication was printed in a half magazine book that comes with 32 analog photographs, an introduction by Alex Teplitzky and captions.
Photography (ongoing)
