We have arrived to an era where the human being is the main producer of change. He modifies his surroundings. In []remoTe sense[] this human figure moves a landscape of salt and light. As a sculptor he shapes the piece of land the way he envisions. Not technically but manually. His work is laborious in the literal sense of a ‘hands on’ action; the literal movement of data in an encrypted landscape. A mining in salt. Simple and bodily.

Nowadays, our perception of data is rather shallow and is attributed mainly to the realms of informatics and statistics. Yet, the experiential borders of what data means and stand for are inconceivably broader than what we ever thought of, especially in a time of astounding technological developments. The performance []remoTe sense[] upgrades that very notion by acknowledging that within a space, all what is there to be seen, felt and processed can be regarded as data. The performance/installation space is proclaimed as utterly the place where data is being produced and harvested. Meaning as data: everything that our senses meet within that very space before acquiring interpretation. The performance/installation space is therefore re-baptised both as a ‘farm’ – and a ‘mine’ of data.

Data mining – the (semi)automatic process of extracting patterns and knowledge from large amounts of data (and not ‘digging’ for data itself) – has become the most resourceful activity from our present times. Data storage is becoming cheaper while data itself is rising rapidly in value. Unlike data miners, data farmers grow their own data. Data is as it were ‘planted’ in a simulation space – a computer program – that runs the experiment thousands of times. It allows the examination of whole landscapes of potential outcomes.

Due to the compelling fact that invisible though sensible data actually occupies such a portent place within our society, []remoTe sense[] wants to be a space, a transient landscape, where all these abstract notions surrounding ‘data’ can become more graspable. It reflects on the deeper sense if we truly understand the potentialities of data from a corporeal perspective. Whether it is of an electrical nature, as a presence that is stored and transmitted among infinite operating systems; or if it only has a ciphered body, restricted to its numeric value and nothing else.

[]remoTe sense[] is an artificial space that by being so artificial in its artificiality and in its constructed construction, that it becomes immensely natural. It questions the misleading conception of technology as artificial or non-natural. Because metaphysically, all that emerges from and disappears within the cosmology of the times we’re living in, intrinsically, belongs to, and only to, nature. A remote, further in time landscape which operates in a non-direct manner, delaying the construction of meaning and the idea of making sense. Reclaiming the art space as the only environment that could possibly shelter such simple and yet political extrapolations.

* Remote sense emanates from the concept of remote sensing, which is a research tool within the science field of Archaeology, where it is used for the acquisition of information about an object or phenomenon without making physical contact with the object. In modern usage, the term generally refers to the use of aerial sensor technologies to detect and classify objects on Earth (both on the surface, as in the atmosphere and the oceans) by means of signals (e.g. electromagnetic radiation sent from aircraft or satellites).



Rodrigo Sobarzo (Chile/Belgien) har utvecklat ett visuellt scenspråk som nöter sig ner i kroppen; landskap av ljus, ljudfrekvenser och pågående rörelser.

I []remoTe sense[] skapar två ton salt, repetitiva beats, värmefläktar, ljudfrekvenser, speglar och ljus ett  krypterat landskap, intenstivt och samtidigt märkligt stilla.

Rodrigo Sobarzo undersöker i sin nya trilogi, där []remoTe sense[] är första delen, en värld där gränsen mellan det artificiella och naturliga har brutit samman; där människan är det element som primärt formar naturen och världen, och där teknologi och människa flyter ihop och skapar nya ramar för vad kunskap, perception och tänkande kan vara.

Läs mer om föreställningen här (på engelska).

Föreställningen är ca 35 minuter lång.

På torsdagen följs föreställningen av en “Disco Lecture” av Magnus Haglund: Live-mixad föreläsning om 60-talets land-art, som närmar sig Rodrigo Sobarzos arbete från en annat håll.



19.00 – []remoTe sense[]

19.40 – Vegetarisk buffé av Kristin Bergman

20.20 – Magnus Haglund: Unplacing the Territory, Rewriting the Stance:
Disco Lecture on the Disappearance and Reappearance of Robert Smithson

Trivsel-ljud i baren av Else Tunemyr


19.00 – []remoTe sense[]

19.40 Vegetarisk buffé av Kristin Bergman

Bar, häng och DJ: Cha Me Suena