is an art collective founded 2018 on the banks of Ceresio, in the Italian-speaking part of Switzerland. Children of a millennium shift, raised in transit and caught between south and north, a group of childhood friends come together to unify their own artistic practices for a broader understanding of the here and now.

🧣 πŸ¦…
HOT NEWS: Check out our new scarf drawn by some childrens aroud Europe!


βœ‰οΈ ✏️ Contact:
mail: tristebacio@gmail.com
ig: @tristebacio.club

call: +41 77 532 00 62 (Manuele)
call: +41 76 323 69 94 (Nicola)

πŸ“‘ πŸ› οΈ Credits:
Β© 2021 Tristebacio (Club), 6900 Lugano, CH.
All rights reserved. www.tristebacio.club/

Last update 29.03.2022, at 20:34.

πŸ“Œ Archive (2020–2022) πŸ“



TOI TOI is a pop-up and offsite exhibition in 3 chemical toilets located in different places around Lugano. As the city of Lugano doesn’t want any alternative and cultural space to persist, we chose as location for our exhibition the only place left where your freedom is guaranteed: a WC.

The project aims to distance itself from the canonical model of exhibition of artistic works, it tries to propose an alternative to conventional exhibitions, creating a welcoming environment and dialogue between the different artists in a place not usually suitable for this kind of use. The intention is therefore to allow the viewer to experience the purest and most intimate interaction with the works possible, without changing the nature of this particular exhibition space.

TOI TOI in via Adamini 4, Lugano (installation view)

Manuele Rezzonico, A, 90 x 210 x 40mm, 2021

Daniel Drabek, Crying Zombie, 385 x 543 mm, 2021

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Manuele Rezzonico, Banana, 250 x 270 x 100 mm

Nicola Martinelli, Your childrens might be tristebacio fans, 470 x 310 x 300 mm, 2021

Daniel Drabek + Gloria Tomasini, 210 x 148 mm, 2021

TOI TOI in via Adamini 4, Lugano

TOI TOI in via Foce 1, Lugano

TOI TOI in via Foce 1, Lugano (installation view)

Manuele Rezzonico, Punk not is dead, 100 x 190x 180 mm, 2021

Nicola Martinelli, Mustika, 220 x 260 x 180 mm, 2021

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Stefano Molo, Tazze, 55 x 85 mm, 2021

Daniel Drabek, Crying Jester, 410 x 348 mm, 2021

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Gloria Tomasini, 270 x 360 mm, 2021

TOI TOI in via Castausio 3, Lugano (installation view)

Nicola Martinelli, Mustika, 160 x 520 x 200 mm, 2021

TOI TOI in via Castausio 3, Lugano

Manuele Rezzonico, 1312, 120 x 110 x 120 mm, 2021

TOI TOI in via Castausio 3, Lugano (installation view)

Manuele Rezzonico, Fuck the Police, 130 x 250 x 50 mm, 2021

TOI TOI in via Castausio 3, Lugano (installation view)

Gloria Tomasini, 348 x 410 mm, 2021

Daniel Drabek, Crying Wolf, 348 x 420 mm, 2021

The main installation exhibited in the Pizzagate windows consists of twelve large screens that randomly propose some shorts full of references to cinema and pop culture, united by a "final moral": the modern proverb according to which every time someone puts ketchup on pizza, an Italian grandmother dies... This gastronomic version of the famous butterfly effect acts as a trait d'union between the screens that fill the two windows visible at any time of day and night until 8 December 2021.

(Riccardo Lisi)



"EVERY TIME YOU PUT KETCHUP ON A PIZZA A GRANDMA IN ITALY DIES!"

HAHAHA is an extensive, multi-format work that encompasses wall painting, embroidery, textile, audio and sculptural elements. Through this body of work, tristebacio appropriates the generalizations of interpersonal communication, typical of the digital era. In this case, laughter, as a basic utterance of a format-mediated conversation, which reassures and reacts to events or spoken words, and frequently enacts participation in a dialogue that is not necessarily overheard. HAHAHA as common expressions in this metalanguage, lightly appropriates the advantage of filtering the emotional reality of the user, who in most cases, not only is not laughing, but would not laugh if confronted with the same situation face to face. This form of emotional flattening is translated, in this work, in the act of obsessively repeating and covering common objects with this redundant locution, annihilating their expressive value.

(Beatrice Fontana)

Tristebacio is a collective that signs itself as a club at its first exhibition at the Spazio Morel. The works presented in this exhibition, although show a lot of variety in terms of subjects and styles, reveal several points in common: The use of white dispersion paint, Ikea tablecloths and cotton blankets as canvas, arographed or spray acrylic paints, rolled, spatulate. Working with these materials means having large surfaces quickly available, at low prices and techniques open to experimentation. Working on the walls of cities, they discovered that an approach to painting can also be made of a fresh desire to see things happen and overcome the typical fear of facing a blank canvas.

The title Still Toys, ironically refers to the widespread practice in graffiti of marking the works of those who demonstrate a certain level of amateurism with the term β€œtoy”. Taking advantage of the limiting component of the materials, or the mistakes and working together, in discussion with your friends, does not require a complex text that explains their deeper meaning. We feel that Tristebacio Club has something that has always existed and that they have simply rediscovered: a love that goes up to 2000 per hour!

(Giacomo Galletti)