is a collective started in 2018 by a group of longtime friends with a background in graffiti, and based on the banks of Ceresio, in the italian-speaking Switzerland. They work within visual and non-visual arts, and develop projects collectively as well as individually, across a wide range of forms and materials.

🧨 πŸ¦… N–E–W–S:
Check out the new article on l'Osservatore about our exhibition Ketchup Napalm!

ig: @triste_bacio

πŸ“‘ πŸ› οΈ CREDITS:
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Tristebacio (Club)
6900 Lugano CH

– πŸŽͺ SHOWS 🎭 –

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 exhibition takes place outside of some survivors spaces of the Lugano’s cultural scene, highlighting their expressive power.

⬆️ TOI TOI in via Adamini 4, Lugano ⬆️
(45Β°59’56.0”N 8Β°56’51.3”E)

⬆️ TOI TOI in via Foce 1, Lugano ⬆️
(45Β°59’56.0”N 8Β°56’51.3”E)

⬆️ TOI TOI in via Castausio 3, Lugano ⬆️
(45Β°59’56.0”N 8Β°56’51.3”E)

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)


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)