Obra: How far to Faro?Sandra GamarraPessoal, peco desculpas pelo texto estar escrito em ingles mas nao encontrei informacoes em portugues sobre ela e por ser muito longo, fica dificil traduzir. Espero que talvez recursos como Google Tradutor ajude a sanar esse problema!http://www.wuediciones.com/fineart/galer1_1c.htmWhen actress Elisabet Vogler, one of the two protagonists of Ingmar Bergmans 1966 classic film Persona, decides to stop speaking she is advised to take some time off at the seaside. Together with Alma, a private nurse played by Bibi Andersson, she ends up in a summer house on the rocky coast of Faro, a deserted island in the archipelago of Stockholm where Bergman has been living since the early sixties and where several of his films were shot. Elisabets deliberate muteness, and her retreat to Faro, can be read as attempts to isolate herself from her surroundings by simply refusing to interact with them. At the same time, she cant help but pick up on signals from those same surroundings. The ongoing confrontation with Alma and radio broadcasts of Bach make for intimate psychological encounters with herself and those closest to her, while the world at large comes in through two significant borrowed sources. Before leaving for Faro, Elisabet watches TV in her hospital room. The television set is filmed showing documentary footage of anti-war protestors in Vietnam, followed by images of the self-immolation of a Buddhist monk: highly topical at the time Persona was filmed. The images are inter-cut with close-ups of Elisabets horrified face. The second documentary insert is historical: when Elisabet opens a book a photograph (that probably functioned as a bookmarker) falls out. What follows is a sequence of details of the photograph that turns out to be one of the most enduring images of the Holocaust: seven-year old Tsvi Nussbaum raising his hands as Nazi soldiers force Warsaw ghetto dwellers to surrender after their May 1943 rebellion. Both scenes are accompanied by a dramatic musical underscore by Lars Johan Werle, intensifying the visual experience. These drastic formal juxtapositions, in fact documentary inserts in fictional frameworks, recall Martha Roslers 1967 collage series Bringing the War Home, in which Rosler intricately inserts journalistic still images of the war in Vietnam into cut-outs from lifestyle magazines. In both Bergman and Rosler's position the territories of documentary and fiction still seem clearly divided and connotated. The fictional is associated with middle class decadence, the documentary with the (victory of) truth and (consequent) moral superiority. Runa Islams How Far to Faro consists of three large-scale video images projected onto three joined, free-standing screens. Each screen measures about 3 x 4 metres and reaches to the floor. The three screens are positioned at a slight angle to one another, so that the suite of projected images becomes a sculptural entity rather than a two-dimensional construct. The monumental character of the imagery, the fact that the piece as a whole is a loop and that the three screens disable primary identification with each individual image, further enhances the strong physical quality of this set of moving images. The piece is structured as