The video/audio-installation by the Italian artists Masbedo is the natural evolution of the last novel of Houellebecq La Possibilité d’une ìle. Maria23, clone of Maria1, is there, in a post-nuclear world where the Neo-Humans are living with no emotions; no laugh and crying, no humor. Like them she can only communicate in a virtual way and suffers for the lack of contact and desire. May be a change is possible, as the Supreme Sister, the super conscience and awareness, announces and inspires. Maria23 leaves in search for her original, but when she finds Maria1, no other possibility is left but destroy her. Love and reconciliation are impossible. The modifications occurred to the neo-humans are irreversible. A superior form of being is now expected for a new chance of redemption. In La Possibilité d'une île there was hope for happiness, but in Il mondo non é un panorama (The world is not a landscape) the world is evocated just as plain suffering where every defeat and elimination have already been seen and decided and it is necessary and unavoidable.

The collaboration between Masbedo, the collective name for the Italian artists Iacopo Bedogni and Nicolò Massazza, and the French writer Michel Houellebecq is due to their mutual elective affinity and interest for mankind. If Literature has got the purpose to provide an image of the world, what is best, much more direct and striking than video-image? Actually, from a conceptual point of view, both the videos by Masbedo and the novels by Houellebecq have much in common with the aesthetic existential concerns that has characterized the thoughts of late philosophers and their theory of “nothing” as answer to a “a pain of the soul” that neither the present time nor life were able to answer to. The result of this collaboration is the presentation of a human life where desperation and incapacity for love drive to a final death or insanity as a metaphor of a catastrophic human destiny leaning to a conclusive nonentity.

In his article on the “Humanité” of Dec. 19th, 1998 the philosopher Yvon Quiniou perceived that topic central to all the works of Houellebecq and perfectly related to the analysis that Masbedo do in their videos about our present time and the impossible search for oneself and for the "Other”. Where the materialism is due to replace a spiritual and religious vision of mankind, no other issue is left but desperation, a desperation that has its origin in a failed but not totally abandoned hope, as Quiniou pointed out, and a cynic installation in what is left after hope. Juliette Binoche, as the Supreme Sister, devil goodness and cause and origin of every thought and behaviour, leads "Il mondo non é un panorama" to its accomplishment, in a merger of video-installation, cinema and literature, tale and direct vision, real life and story.