The choice of the last portrait, the one that represents us forever. How and by whom women want to be memorialized. All this concerns our essence as women, how we are perceived, who we are and how we would like to be. And which image we would like to leave. A female universe of memories, thoughts, friendship and family ties. Every women is invited to develop the narrative.
These images were taken in five italian cemeteries: cemetery of the Certosa in Bologna, Staglieno Cemetery in Genoa, Verano Cemetery in Rome, Milan Monumental Cemetery and Cemetery Poggioreale in Naples. The texts and names are fictional.
Read the interview about it on 'What? Market? Market? a joint discussion between Unseen Book Market and Photobook Week Aarhus ,second edition (2018-2019), concept and production Moritz Neumüller and Daria Tuminas.
100 copies numbered and signed, box size 25 cm x 25 cm x 4,5 cm.
+ 20 collector's editions with structure, box size 17 cm x 23,5 cm x 10 cm.
ISBN: 978-1-5272-3991-3
Performative readings and actions at the Women's Art Library (WAL), Special Collections and Archives at Goldsmiths, University of London and in the exhibition program of (Un) Framing our Identities, RPS - Royal Photographic Society, Old Telephone Hub, London, Kensington + Chelsea Art Week, London (2019).
WHAT? WHAT? WHAT? WHAT? MARKET?
Second edition of a joint discussion between Unseen Book Market and Photobook Week Aarhus (2018-2019)
by Daria Tuminas and Moritz Neumüller
Could you tell us about your recently published book Last Portrait?
Last Portrait is about relationships between women; how would we like to be represented by other women and how would we like to represent ourselves? What kinds of relationships could we
potentially build? The book contains photographs of portraits of women that were placed at their gravesides in Italian cemeteries, alongside poetry that I wrote about each picture. The book is unbound
and is supposed to be “performed”. In a group, readers are meant to choose certain images from the book, reflect on them, and develop fictional narratives around the women and their interpersonal
relationships, drawing on their own experiences and biographies in the process. It was published by Tosca Press in 2019 and, aside from the regular edition, has a limited edition of 20 copies with a case designed by Arabella Schwarzhopf, which allows the reader to remove the pages and return them in a
different order.
What do you think about women’s representation in the photobook world?
I am not very good at promoting my work, and I think a lot of women probably feel the same way. Plus, we live in a patriarchal society, that’s just a fact.
We should take action against this, work collectively and create a community of women photographers who support each other. My own work is dedicated to strengthening bonds between women. I am part the Italian Women Photographers’ Association and I recently proposed a project about photobooks
by women involving the Womens’ Center in Bologna. They have a very receptive audience towards art events and they already have some photobooks by women in their library. Plus, they’ll likely attract
an audience that is engaged in gender politics. I am interested in the ways photobooks can connect different groups of people, and in encouraging the dialogue to move beyond the realms of photography.
I’ve seen this work well in places like The Feminist Library in London, where Last Portrait was once presented. I’m looking forward to facilitating more events like this.
Why do you choose for a photobook format to communicate your ideas?
The photobook is important for me as it either signals the starting point of a collaborative process or, once published, becomes accessible to the general public. While people often come into contact
with it within domestic spaces, the photobook is also a powerful form of public art. It can be encountered in libraries and art galleries, even cafes, parks, buses, trains. The photobook makes art accessible to everyone.