Silvia renamed this chair "Marina and Ulay", after reading the incredible autobiography of Marina Abramović, perhaps the greatest and most famous contemporary artist, the "grandmother of performance art", as she defines herself. She and Ulay, companions in life and work for 12 years, at a certain point decided to make this performance: they would have walked the Great Wall of China starting from the two opposite sides (since fire is the symbol of the male principle and water of the female one, Ulay would have left from the desert and Marina from the sea) and meeting halfway, they would have married. Only that years later, by the time the performance finally, following countless bureaucratic problems, was supposed to take place, Marina and Ulay were no longer together. Yet they still decided to make the journey, not to meet and celebrate their love, but only to meet and say goodbye. It may seem a sad story, but it is above all a story of rebirth and its painful but conscious and necessary path. We are born crying and suffering, in the same way we are reborn in the course of life, and despite all the pain, it is always a miracle So writes Marina: “The answers I like least are the ones I learn the most from” In Silvia's chair it seemed to metaphorically review their path towards each other, the feminine principle towards the masculine one, separated yet united by the same pain and the same purpose. In the second photo, the meeting on the Chinese wall of Marina and Ulay, in 1988, after three months of walking.