In 2017 we worked on this suite, merging music and images, in an artistic object to be presented in a cinema room but with a concert sound. "On remote places" premiered at the Galeria Municipal do Porto, Portugal, that same year.
Unreleased until now, this is what we wrote about it in 2017:

“On remote places” is the new work to present live. In the last few months, we have worked in a music set that we decided to put together for a live presentation. It is a very special project that deals with two heritages: on the one hand the heritage of the experiments introduced by Stockhausen in the presentation of concerts without musicians as in, for example, the very well known: concert for loudspeakers entitled “Gesang der Jünglinge”. We have prepared as usual in our work a “concert for loudspeakers and video projector”; on the other hand, we wanted to deal with the heritage of the structure of the classic suite style. The result is a group of 5 movements that begins with a “prelude”, followed by a trilogy and ends with a “coda”. We named this work as “on remote places ‑ suite for the ends of the world”. It is not a dark or gothic work but a construction around the idea of remote places or ends of the world as are the two places that are shown in the images: the Svalbard archipelago (near the North Pole) and the town of Ushuaia (the most austral place before Antarctica). We admit a comment into the catastrophic situation that is now present on both the Arctic and Antarctica: it is there, before any other place on the planet, that the the climate changes are truly felt…
The idea was to produce a work that comprises both images and sound to be “seen” as a concert: we need a concert PA plus the video part. We will not be on stage playing but instead using the technical mix table for controlling all the sound that we have produced as well as the lighting system. As we have already said we are trying to install a new kind of “concert” without musicians on stage. As a spectator you will see and hear a previously prepared immersive work that has this particular “truth”: it will only be presented in live conditions of concert so it can assume this particular notion of the concept of concert, its singularity. We will react to the different spaces and conditions with adjustments in the “suite” that turns it into a unique moment: it is not a concert, but it has the conditions to be understood as one, it is not a movie but could be… It is what we can call, claiming another heritage, this time the one of the visual arts: it is a concert in the expanded field (the notion of the american historian Rosalind Krauss that reacts in the 60’s to the existence of objects thar were neither paintings nor sculptures) as here the “thing” is not a concert or neither a movie…it is another thing…
And now after some years we’ve decided to present the audio alone in its own autonomy…because it deserves.
Here you have.