There is a certain resonance in form and function between the bunker and the sacrophagus. The bunker is a place of safety, a type of burial house (or blockhouse) from which we observe danger and which guards us from actual death. Studying this phenomenon, Paul Virilio ironically points out: "The bunkers of the European Littoral were from the start the funerary monuments of the German dream". Although now forgotten, strewn along the European coast, these blocks are a premonitory reminder of our own perverse death wish.

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In Fear, Defence, Disappearance, the artist’s voice guides us through an ennumeration of "structures of protection" and "architectures of defence", alluding to the extensive terminology in our bellic vocabulary. This proliferation of terms reminds us of our historical need to label and distinguish between strategies of military action – strategies which ultimately are undergirded by one and the same principle: "Protect, Defend, Attack".

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The words “munition” and “ammunition” derive from “munitio”, latin for “fortress”. From wall to weapon. A parallel can be drawn between hand-to-hand combat training – where the enemies are face to face, using their bodies as armour – and the construction of a fortress. And yet in the closeness of the fight, clasps, holds and bites evoke an intimacy, an immense humanity, that announces the possibility of an opening. Installed like a sculpture in the void, the dual projection invites the viewer into a Sisyphean world where repetition, time and expectation play out the destiny of history in the making.

Rocamora spent several months interviewing and observing ex-soldiers who are experts in the defence system Krav Magà developed by the Israeli Army, and now practiced by many armies worldwide. Quoting from this military form of combat, she then created a mise-en-scène by placing actors (ex-soldiers) in the historic landscapes of Normandy, its beaches and its only remaining landing strip (today Cherbourg Airport).