The souvenir has always been, alongside postcards, photographs, and quirky objects, one of the primary agents in the process of recalling a journey. Within this discourse, the work “Souvenir”(Viale Valery Lobanovskyi, 17) fits into the microcosm of fetishes, but it reveals itself not only as a delicate indicator of lived time—of which it becomes both witness and testimony—but also as a drive toward the future, offering a unique perspective that ties it to a memento mori.