A work that blends art, cinema, and literature; a dual tribute to France, as well as the inauguration of the new Turin space of Noire Gallery. It could be a public success in a crowded and celebratory Turin. Yet, the event seems to take a clear back seat, and on the day of the collective opening on February 16, the screening is, shall we say, intimate and tranquil. Marco Noire has settled in Turin in a strategic location, right under the Mole Antonelliana, albeit in two mezzanine rooms within an inner courtyard. Only the label on the doorbell announces the gallery, allowing visitors to enter the space dedicated entirely to video installations.
The World Is Not a Panorama features the intense face of Juliette Binoche reciting (in French) excerpts from Michel Houellebecq’s latest success, The Possibility of an Island, before ceding the stage to a young actress (borrowed from the Motus theater group), who seems to have just stepped out of a social center only to find herself in the midst of Lanzarote’s volcanic island. Amid stone and fire, alone and naked, the woman is in desperate search of a connection: with the earth, with matter, with pain and passion. In short, with something capable of giving meaning to life. Compared to the book, Binoche takes on the role of the Supreme Sister, the higher consciousness that points to the possibility of change for Maria 23, a clone in a world of clones living a peaceful existence devoid of any kind of emotion, without desire or suffering. Maria 23 ventures to Earth in search of her original twin self, Maria 1.
