My pilgrim is not feeling well. He’s faltering. Often, he is in doubt. He is uncertain what and where he is looking for. He is only sure that he must leave, go, away from here.

“I heard the sound of a trumpet in the distance, and asked the servant what it had meant. He knew nothing, he heard nothing. He stopped me at the gate and asked, ‘Where are you riding, sir?’

‘I don’t know,’ I said. ‘But away from here, only away from here. Away from here forever, only that’s how I can reach my destination.’

‘Do you know your destination?’ he asked.

‘Yes,’ I answered. ‘For I have just said, “Away from here,” that is my goal.’

‘Are you not taking any food with you?’ he inquired.

‘I do not need it,’ I said. ‘This journey is so long, I would starve, should I not get something on the way. I could not carry as much food that would last me. For, fortunately, this truly is an enormous journey.’”

My intention was to make the trumpets of Kafka audible, but I, too, have only made souvenirs, I cannot show what is calling my pilgrim, I can only tell of what is chasing him.

The works were created for the group exhibition Pilgrimage at Pannonhalma Archabbey.

Starting from the above questions, the exhibition revolves around three keywords; the tent, the labyrinth, and the souvenir. The idea of the tent can be connected to pilgrimage—finding, carrying God—through the words of Saint Benedict’s Rule. The labyrinth, in the same context, can be understood as a substitute for pilgrimage or as a symbol for the inner journey. The word souvenir once referred to evidences of the journeys made and the sacred sites visited, but today its original meaning has been eroded. The invited artists, departing from the three keywords, created new works of art that, using memory, seek paths others can take between virtual worlds and reality.