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Lonely Planet: Campania Felix is thefirst part of a triptych in whichSusan Kooi [1988] travels to Italy,Portugal an Japan to work withvarious traditions of ceramic crafts.
The project reflects on how artefacts
signify meaning during their lifespanand are carriers of meaning foextraction in the future. Susan Kooi
seeks evidence of the object's useand meaning, both real andfictitious, with the resulting storiesforming a publication. Thisalternative travel guideaccompanies the objects on view inthe exhibition at MAMA [Rotterdam]and tells the tales of these artefacts
that are found and made by SusanKooi in the Italian region Campania.
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Lonely Planet ~ Campania Felixby Susan Kooi
With text contributions by
Hanna Bervoets
Maurits de BruijnNathalie HartjesVincent Hunink
Tommi Vasko
Marloes de Vries
Introduction~ Susan Kooi
Poetic Reconstruction, Or,The Making Of A Past That Is Yet To Come~ Nathalie Hartjes
Fomace As A Time Machine
~ TommiVasko
The Giant Mimas~ Susan Kooi
Bacchus ....
~ Maurits de Bruijn
Voices From Afar .~ Vincent Hunink
Objects From Fertile Volcanic Ash~ Marloes de Vries
Giulia Tofana . .~ Hanna Bervoets
.8
10
27
28
44
Bacchus the AsteroTd
~ Susan Kooi
... 60
. 76
80
VOICES FROM AFAR
Vincent Hunink
Ancient texts are coagulated human experiences - signs of life fromthe past. They testify to the thoughts, emotions, and ideas ofindividuals who have ever breathed and existed. Very often, we knowthem by name as great poets, famous thinkers, politicians, generals,and sometimes emperors.
In education and science, the acknowledged masterpieces ofclassical literature still play an important role. We particularly studythe most famous books over and over. Ancient writers such as
Homer and Virgil, the poets of Greek tragedy, andphilosophers, such as Seneca, are a constant
source of inspiration. The ancient writersstill have much to tell us in the rwenty-first century. Their voices continue to
resound generation after generation.But what if one was not a well-
known name? What if one's texts were not
transcribed as faithfully and stored as thoseof the great? What if one has written in a
language no longer so evident for latersubsequent readers? Then it is unlikely that
one's thoughts will make that great leap forward.Without bridging distances in time and place, they
I remain temporary and local.[^ For a long time, this sad fate seemed destined for theY approximately ten thousand examples of graffiti found in
Campanian Pompeii. The story is well known: the eruptionofVesuvius in AD 79 buried the town ofPompeii under ash, lava,
44
/
Voci da lontano
Itesti antichi sono un coagulato diesperienze umane. Sono dei disegni divita dal passato. Essi testimonianopensieri, emozioni e idee di individui cheun tempo hanno respirato e vissuto. Nondi rado li conosciamo per name: grandipoeti, famosi pensatori. Politici, generali,a volte imperatori.
In materia di istruzione e scienza. i
famosi capolavori della letteraturadassica giocano ancora un ruoloimportante. Studiamo ripetutamentesoprattutto i libri piu famosi.Dall'arrtichita abbiamo scrittori come
Omero e Virgilio, i poeti della tragediagreca e i filosofi come Seneca, checostituiscono ancora una costante fonte
di ispirazione. Ancora nel XXI secolo, gliautori antichi hanno molto da dire.
Generazione dopo generazione. Ie lorovocl corrtinuano a risuonare.
Ma cosa succede se non si e stato un
nome importante? Cosa succede se i tuoi
testi non sono stati trascritti in modo
fedele e conservati cosi come quelli deigrandi autori? 0 se hai utilizzato unalingua non familiare ai lettori posteri?Allora e improbabile che i tuoi pensieriarrivino lontano. Non riescono a superarevelocemente Ie distanze di tempo eluogo, rimangono temporanei e locali.
Per un lungo periodo, questo tristedestino sembrava esser riservato a circa
diedmila graffiti ritrovati nella cittacampana di Pompei. La storia e nota:I'eruzione del Vesuvio del 79, la citta di
Pompei sepolta sotto cenere, lava epomice, e solo nel periodo moderno lascoperta e gli scavi. Oro brillante, marmi,dipinti colorati e mosaici I'hanno vintafacilmente sui graffiti. Poiche questierano solo "ordinari" e di solito anonimi.
Saluti, maledizioni, comunicazioni o
LONEIY PLANET ~ Campania Felix ~ 45 [
Stemmen van ver
Oude teksten zijn gestolde menselijkeervaringen. Levenstekens uit het verle-den. Ze getuigen van gedachten, emo-ties en ideeen van individuen die ooit
hebben geademd en bestaan. Niet zel-den kennen we ze bij naam: grote ctich-ters, beroemde denkers. Politici,generaals, keizers soms.
In het onderwijs en de wetensehapspelen de erkende meesterwerken uit deklassieke literatuur nog altijd een be-[angrijke rol. We bestuderen vooral deberoemdste boeken telkens opnieuw. Uitde klassieke oudheid zijn schrijvers alsHomerus en Vergilius, de Griekse trage-diedichters en filosofen zoals Seneca een
blijvende bron van bezieling. Ook in de21ste eeuw hebben de oude schrijversnog veel te zeggen. Generatie na gene-ratie blijven hun stemmen weerklinken.
Maar wat als je geen grote naambent geweest? Wat als je teksten niet zogetrouw zijn overgeschreven en bewaardzoals die van de Allergrootsten? Wat als jeeen taal hebt gebruikt die voor laterelezers niet meer zo evident \s> Dan is de
kans klein dat je gedachten degrote sprang voorwaarts
kunnen maken Ze
overbruggen dan nietsnel de afstanden in
tijd en plaats, zeblijven tijdelijk enlokaal.
Dat droeve
lot leek lange tijdweggelegd voorde ongeveertienduizend
graffiti die zijnaangetroffen inhet CampanischePompeT. Met ver-
'A/<{r
At..'s*<
LONELYPLANET ~ Campania Felix ~ 47'
and pumice, only to bediscovered and excavated in the early
modern period. Glossy gold and marble and colourful paintings andmosaics easily took precedence over the everyday texts found on thewalls, because they were just 'ordinary and usually anonymous.Greetings, curses, communications or bans, funny refrains fromsongs, jokes, riddles, puzzles, sometimes with silly accompanyingdrawings; obscenities too, because they occur in all eras.
The Pompeian wall texts were written in the Latin thenspoken by the people. Misspellings, scrambled sentences, incorrectgrammar. Words that we do not know from literature and, therefore,cannot translate with certainty. And, to make matters worse, it isoften unclear why the graffiti were put on the walls, and for a largepart, why they have been only partly preserved.
Anonymous, erroneous, and plebeian, stripped of context,and full of holes. Pompeii's difficult text material wasj-emoved andstored in museum basements. Coldly described in unreadable,scientific collections, away from the general public. After theexcavations, many voices from Pompeii resounded, but only faintly.
46
divieti, ritornelli divertenti di canzoni,barzellette, indovinelli, enigmi, a volteaccompagnati da disegni abbozzati. Maanche oscenita, perche quelle sonovecchie come il mondo.
I graffiti pompeianisono scritti nel latino
volgare, nel modo incui la gente parlavaallora. Errori di '
ortografia, frasiconfuse, grammatica ,.scorretta. Parole che non
conosciamo dalla letteratura e
che quindi non possiamotradurre con certezza. E a
peggiorare Ie cose, spesso non e chiaroil motivo per cui i testi sono stati scrittisui muri e una grande parte e conservatain maniera frammentaria.
Anonimi, scorretti e popolari.Spogliati di contesto e pieni di lacune. Icomplicati graffiti di Pompei sono statirimossi e conservati nelle cantine dei
musei. Descritti freddamente in
un'illeggibile e scientifica collezione dilavori, lontani dal grande pubblico.Anche dopo gli scavi, Ie tante voci diPompei riecheggiano deboli.
Ma poi sono stati riscoperti: daarcheologi ed esperti di letteratura, iquali hanno nuovamente riaperto questafonte di vita romana. E ancora da
linguist!, poeti e artisti. II materiale dibase urla interazione. Gli scienziati
stanno cercando di descrivere e spiegaretutto dettagliatamente. Gli artistirinnovano i testi in altri modi. Susan Kooi
riporta in vita alcuni graffiti di Pompeinell'estraneo ambiente di una galleriaolandese. Testi riportati a grandi lettere ein grassetto, su muri bianchi e
istituzionali. E in questo caso tradotti,naturalmente, nel latino dei nostri giorni:I'inglese. Cosi facendo, Susan riempie Ielacune, come solo gli artisti possono
haal is bekend: de uitbarsting van de vul-kaan Vesuvius in 79, het stadje PompeTbedolven onder as, lava en puimsteen,en pas vanaf de vroegmoderne tijd
ontdekt en opgegraven.Glanzend goud en
marmer en kleurrij-ke schilderingen en
mozaTeken wonnen
het gemakkelijk vande gebruiksteksten
op de muren. Want die
waren maar 'alledaags' enmeestal anoniem. Begroe-
tingen, vloeken, mededelingenof verboden, grappige refreinen uit
liedjes, geintjes, raadseltjes, puzzeltjes,soms met flauwe tekeningen erbij.Obsceniteiten ook, want die zijn van alletijden.
De Pompejaanse muurteksten zijngeschreven in het volkse Latijn zoals dattoen gesproken werd. Spelfouten, ver-haspelde zinnen, verkeerde grammatica.Woorden die we niet kennen uit de lite-
ratuur en dus niet met zekerheid kunnen
vertalen. En tot overmaat van ramp isvaak onduidelijk waarom ze op de murenzijn gezet en is een groot deel alleenfragmentarisch bewaard.
Anoniem, fout en volks. Ontdaan van
context en vol gaten. Met lastige tekst-materiaal uit PompeT werd weggehaalden opgeborgen in kelders van musea. Kilbeschreven in onleesbare, wetenschap-pelijke verzamelwerken, ver weg van hetgrote publiek. De vele stemmen uit Pom-peT klonken dus ook na de opgravingenmaar zwak.
Maar ze warden herontdekt. Door
archeologen en letterkundigen, die dezerijke bron van Romeins leven weer aan-boren. Door taalkundigen, dichters enkunstenaars. En het elementaire materi-
aal schreeuwt om interactie. We-
tenschappers proberen alles precies te
They are, however, being rediscovered.Archaeologists and writers, as well as linguists,
poets and artists, are tapping into this richsource of Roman life. And the elementary
material is screaming for interaction. Scientistsare trying to describe and explain everythingexactly. Artists interpret the texts in other ways.Susan Kooi brings to life some graffiti texts fromPompeii in the alienating environment of a Dutchart space, inscribed on institutional white walls in
large, bold letters. And, of course, in translatedform, in this case in the Latin of our times:
English. In this way, she fills the empty spaces,as only artists can: in her way, using hercreativity.
Through the detours of place and time,language, and form, Lonely Planet (Campania)
reveals the thoughts of long dead Pompeians, asthey may once have been. As they could have been.
Fusing past and present. The ancient Pompeians are us.
farlo: con la propria forza, attingendoalia creativita.
Cosi Lonely Planet (Campania) cipresenta i pensieri dei Pompeiani, dalungo scomparsi, attraverso deviazioni diluogo e di tempo, linguaggio e forma,come forse erano. Come sarebberopotuti essere. Fondendo passato efuture. Gli antichi pompeiani siamo noistessi.
VINCENT HUNINK
LONELY PLANET- Campania Felix ~ 49
beschrijven en te verklaren. Kunstenaarsmaken de teksten op andere manierennieuw. Susan Kooi brengt een aarrtalgraffititeksten uit PompeT tot leven in devervreemdende omgeving van een Ne-derlandse kunstruinrrte. Groot en in vetteletters aangebracht op witte, institutio-nele muren. En in vertaling natuurlijk, indit geval naar het Latijn van onze tijd, hetEngels. Op deze wijze vult zij de openplekken, zoals alleen kunstenaars dat
mogen: op eigen kracht, vanuit eigencreativiteit.
Zo toont Lonely Planet (Campania),via de omwegen van plaats en tijd, taalen vormgeving, de gedachten van langgestorven Pompejanen zoals zemisschien waren. Zoals ze zouden kunnenzijn geweest. Waarmee heden en verle-
den versmelten. De oude Pompejanenzijn wijzelf.
VINCENT HUNINK
48
COLOPHON
Concept & ideaSusan Kooi
Translations
Italian: Maria Rosaria Di Lecce
English: Jason Coburn
EditingGuus van Engelshoven
Writers
Hanna Bervoets
Maurits de BruijnNathalie HartjesVincent Hunink
Susan Kooi
Tommi Vasko
Marloes de Vries
Graphic DesignTommi Vasko
PhotographyTomas Mutsaers
Made possible byCreative Industry Fund NLAFKFornace Falcone
Special thanks toGiada Fiorindi
II Ventre di Napoli
Printing & bindingTripiti, Rotterdam
MAMA is supported by the City ofRotterdam and the Mondriaan Fund
iniimjs]
City of Rotterdam
Publisher
EleonoorJap SamJap Sam Books, Heijningenwww.japsambooks.nl
Producer
MAMA
Director: Nathalie HartjesCurator: Marloes de Vries
Project Manager Talent Development:Margriet BrouwerJunior Talent Developer:Marel Jap-SamTechnician: Ivo Sieben
All rights reserved. No part of thispublication may be reproduced in wholeor part without permission from thepublisher. 0 2016 Susan Kooi, theauthors, photographers, MAMAand Jap Sam Books.
ISBN 978-94-90322-82-3
(ISBN Showroom MAMA
978-90-816473-4-2)
creative industries fund ML
amsterdamsfondsvoordekunst
ORNACEALCONE
(iffn-ina deflc terrewttf
fund
82