Bacio
Bacio (Bern)
Bacio Collective is a curatorial team founded in 2021 and has been running the non-profit art space Bacio in Bern, Switzerland, since September 2022.
Through its projects, the collective aims to create an alternative to established art institutions and present a diverse program that brings together different perspectives and encourages new forms of collaboration and challenges existing structures. Its annual program mainly focuses on young, regional, national, as well as international positions.
Proposal
For Swab 2026, Bacio presents a selection of four artists working across the mediums of painting, drawing, sculpture and sculptural interventions; Tobias Hauswirth, Nadine K. Cenoz, Robin Mettler and Sina Schöpf.
The works presented in this exhibition explore the shifting relationship between materiality, perception, and the construction of meaning. Starting from familiar forms, everyday objects, architectural fragments, and lived environments, the artists investigate how seemingly stable realities are continuously transformed through processes of translation, abstraction, and material transformation.
Born in Biel, Switzerland, in 1998, Tobias Hauswirth is an emerging contemporary artist currently based in Brussels, Belgium. His formal artistic training includes an MA in Painting from the Royal College of Art, London, which he completed in 2025. This educational foundation has contributed to the development of his evolving artistic practice. Prior to and immediately following his postgraduate studies, Hauswirth’s work has been presented in various exhibitions across Switzerland, marking a steady progression in his presence within the art community. His exhibition record indicates an artist actively contributing to contemporary discourse.
(b. 1989, Buenos Aires, Argentina) is an Argentinian-Swiss artist. She currently lives and works in Bern and Buenos Aires. She earned her Bachelor and Master of Science in Architecture from ETH Zürich and her Master in Fine Arts from Parsons, The New School, New York.
Cenoz’s artistic practice revolves around drawing and works made for specific places and sites, focusing on subjectivation processes and delving into the affective and political dimensions of liminality. Her practice investigates how the subject exists within a relational field, exploring the subtle forces and histories of places that register upon the body. Through fragile, anthropomorphic drawings and context-specific series, she examines how affects circulate and are embodied in figures that appear porous, unstable, or in transition.
The architectural environment becomes an integral component of the work in Cenoz’ installations. The process of becoming and therefore of (de)construction is a key aspect of her practice, resulting in works that employ drawing directly on unconventional materials and question conventional methods of display and assembly.
