The fact that we can eat plants and animals, but not people, opens a meaningful insight into the value system in which the death of some is radically different from the death of others. The intervention of the contemporary consumer culture, which defines the differentiation of death, is a result of the anthropocentric understanding of the world, in which the ethics of plants, animals and people is based in the functionality of the food chain. In the name of functionality people have invented a series of techniques with which living organisms are chopped up until they can no longer be recognised, designed and packaged into products and thus depersonalised to the level of pure materiality. A product created from animals and plants creates the impression of a strong inner logic, which is shown as the nature of things: as if the animal or plant would have died of natural death or had volunteered to die so that someone else could live. This simple technical operation, which changes the killing of plants and animals into a process within the food chain, creates a frame in which the plants and animals, changed into food, obtain a symbolic body – they are still alive, but excluded. Suddenly we are dealing with two different forms of death, natural and symbolic: the death of an individual being and death as a part of the food chain. The performance Love Act: Marche Funèbre takes place precisely between the two deaths.