He won the First Prize in “Le stanze dell'arte – Premio giovani artisti Genesi creativa” at the M.A.X. Museo di Chiasso (2020), and has exhibited in group exhibitions at Cabaret Voltaire (Zurich), Istituto Svizzero, Rome (2023), Bissone Arte 22 (2022), Spazio Fervida, Lugano (2024), and Castelgrande, Bellinzona (2025).
He won the First Prize in “Le stanze dell'arte – Premio giovani artisti Genesi creativa” at the M.A.X. Museo di Chiasso (2020), and has exhibited in group exhibitions at Cabaret Voltaire (Zurich), Istituto Svizzero, Rome (2023), Bissone Arte 22 (2022), Spazio Fervida, Lugano (2024), and Castelgrande, Bellinzona (2025).
Felted wool from Ticino
21 × 30 × 3 cm
Installation view: Istituto Svizzero, Roma. Detail with photocopied manifestos.
Cröisc e Grebel
The communities residing in the valleys and alpine regions once held a profound connection to their ancestral and pagan traditions. Their way of life was intricately woven into the fabric of their natural surroundings, creating a symbiotic relationship with the ecosystem they inhabited. Their existence was guided by a profound wisdom, rooted in practices that harmonized human life with the Earth's resources, all while maintaining a delicate balance.
These practices were inherently tied to the rhythms of nature, giving rise to a rich cultural heritage deeply intertwined with the cycles of the natural world. This connection led to the creation of objects and structures that mirrored and drew inspiration from the organic shapes found in their environment. Consequently, when the Christian religion made its way into these regions, introducing imposing stone towers that seemed to stretch towards the heavens, some members of these communities who resisted this cultural shift sought refuge in the remote corners of their territory.
In folklore, these resilient individuals were often depicted as witches and malevolent beings, invoking fear among the villagers. Yet, these same people possessed invaluable knowledge about resource utilization, understanding the benefits of specific organisms and practices in food production. This knowledge was highly sought after by the villagers, even as they clung to their enduring legends.
The communities residing in the valleys and alpine regions once held a profound connection to their ancestral and pagan traditions. Their way of life was intricately woven into the fabric of their natural surroundings, creating a symbiotic relationship with the ecosystem they inhabited. Their existence was guided by a profound wisdom, rooted in practices that harmonized human life with the Earth's resources, all while maintaining a delicate balance.
These practices were inherently tied to the rhythms of nature, giving rise to a rich cultural heritage deeply intertwined with the cycles of the natural world. This connection led to the creation of objects and structures that mirrored and drew inspiration from the organic shapes found in their environment. Consequently, when the Christian religion made its way into these regions, introducing imposing stone towers that seemed to stretch towards the heavens, some members of these communities who resisted this cultural shift sought refuge in the remote corners of their territory.
In folklore, these resilient individuals were often depicted as witches and malevolent beings, invoking fear among the villagers. Yet, these same people possessed invaluable knowledge about resource utilization, understanding the benefits of specific organisms and practices in food production. This knowledge was highly sought after by the villagers, even as they clung to their enduring legends.
Istituto Svizzero, Roma
Pictures: Daniele Molajoli
Poetry for revolutions
A Group Show with Manifestos and Proposals.
A collaboration project between Istituto Svizzero (Rome) and Cabaret Voltaire (Zurich).
The group exhibition brings together manifestos by fifteen artists – one contribution each for Zurich and Rome, some identical, some slightly different. The content and formal characteristics are diverse. They deal with the ecological crisis, the power of language or the pharmaceutical industry, the handling of ideologies or resources, longings in dystopian times, collective imaginations and identitarian attributions.
Some of the manifestos are poetic, abstract, others prosaic, concrete. They are texts, drawings, photographs or sculptures. In both institutions, the manifestos are additionally available photocopied on Ceylan Öztrük‘s «Choreographed Manifestos» sculptures, which allow the papers to glide along the walls like leaflets. The artist is interested in how information formally circulates and who feels empowered to share what knowledge. Visitors can take the manifestos with them and take them to the streets.
About the title
Proximity between the earth (geological conformation of the ground: deep ‘folds’, inlets and descents) and the human body (wrinkled, hollowed, shrunken body)
Cröisc:
Croisc= man of awkward and miserable form (Faido)
Cröiscett = dwarf (Calpiogna)
Cröisc = wild people, resembling man but hairy, without clothes
Ca do la cröisca = the witch's house (Corzoneso)
Burele di croisc = large rock jutting out of the earth in which a cave is formed, in which, it is said, pagans lived (Chironico)
Ca di crüsc = cave or cavern where dwarf beings (spirits of fantasy) were believed to live (Cavagnago)
Ca di cröisc = houses of the pagans (Olivone)
Crèinsc = strange beings, with tied, shrunken fingers, they lived in the mountains; physically deformed, they dragged themselves along the ground, they asked people for bread. (Moleno)
Grebal:
Greban = Ignorant (Taverne)
Greban = stubborn? (Lugano)
Grèbal = bare barren ground (Faido)
Sgremini = almost uncultivated land (Malcantone)
Sgrèban = stony meadow, unproductive land
Swiss German “Grebel” = Körperlich oder moralisch hässlicher, ekelhafter Mensch / Physically or morally ugly, disgusting person