Hanna Samoson’s journey along the Rail Baltic route can be seen as a ritual with the talk of disappearance at its heart. With her body, the artist marks a path in nature that still exists today, but may not in the future. By sloshing through the bush, a sense of purpose is given to places otherwise seen as of little significance, suddenly debris and litter gain greater meaning to us. It may happen that after Samoson’s journey we start to sympathize with these places that are unfamiliar to us, but it may also happen that we look at it all with indifference and see it all as an inevitable course of life – Samoson herself does not give assessments, but recedes to being the one who guides the ritual and introduces the route.The physical dimension of Samoson’s action must be emphasized. In the information age we don’t only make decisions, but we also replace physical experiences with mediated ones – we watch life on screens. What is important in this ritual is the exhaustion of the body due to days of constant moving, reminiscent of the journey genre of barefoot apostles per pedes apostolorum. The body is twisted, the mind sharpens, the feeling of human helplessness and smallness increases, humility arises in front of something greater. In front of what? Nature? Railway? Time? Space? Don’t know.