Opening: Thu. 18.09.2025, 7 pm

Duration: 18.09.2025- 16.10.2025

The landscape is constructed through the gaze. The gaze glides over it from above - without the reference of a map, which has since become unrecognizable, or a compass, which points to nowhere.

The landscape is constructed by a gaze that has left the hero's body. This disembodied gaze is not understood by the landscape, which - unsuspectingly - allows plants, bushes and hares to appear belatedly on the screen.

The landscape turns into a map and shows us its edges - edges from which the hero falls in an endless loop as he sees all kinds of abandoned objects in a world resting on a murky layer of water.

"None but Devils..." focuses on what has been left behind - not what has come to the fore. The male hero figure from The Witcher 3, although central to the narrative, is left behind in the video work. He fights his battles on the surface of the landscape, while underneath, forgotten objects from earlier layers of history redirect the gaze - towards containers, tools and silent accumulation: the collection of what is overlooked.

An archaeology of the discarded emerges, based not on progress and victory, but on trace, loss and rediscovery.

This critical shift draws attention away from the linear, goal-oriented and battle-focused hero's journey - towards a narrative style as described by Ursula K. Le Guin in her Carrier Bag Theory of Fiction. The installation itself becomes a kind of carrier bag: it holds and shows the marginal, the non-heroic.

The depiction of the landscape is also not hero-centered - i.e. far outside the paths programmed for the game. Beyond these boundaries, the landscape is broken; the colors of the world appear one-dimensional, almost invisible to the disembodied gaze. And so, when we fall into a "rabbit hole" in this terrain, we see the sky from below - and realize that the hero's digital world rests on a hall of mirrors."