Lives and works in Berlin

portrait

EDUCATION


2021 - 2024 Universität der Künste, Berlin

2011 - 2014 Cass School of Art, London

2010 - 2011 Byam Shaw School of Art, London



Upcoming:


Bingo, Gr_und, Berlin
9th-23rd March 2024

0010, Mulackstraße, Berlin
April 2024

UdK, Abschluss Austellung Rundgang💥
September 2024

GRIT (1), Kunstpunkt, Berlin
August 2024

Kunstraum Berlin, Berlin
September 2024

GRIT (2), Drawing Projects, Dundee
September 2024

a__1____ee
2024, Sound-collages release



Solo exhibitions:


Zeitfenster, Brandenburg an der Havel, 2023

Tratteggi Anacronistici, Spazio Scuderia, San Zenone, 2021 → VIDEO TOUR

Variations on Worldmaking, Aleph Contemporary, 2020

Elegy of the Flesh, 5th Base Gallery, London, 2016



Two-person exhibitions:


Vergessene Objekte, with → Ariane Hakami, Berlin, 2023

B.03, Studio Peter Buechler, Berlin, 2019

Eye Flux Hand, C4RD Centre for Recent Drawing, London, 2017

Non verbis sed rebus, Dif-fù-sa Contemporanea, Forlì, 2016



Selected group shows:


Just painting, Evelyn Drewes Galerie, Hamburg, 2023

The blurst of times :(, Schau Fenster, Berlin, 2023

Palmen aus Plastik, Galerie Waidspeicher, Erfurt, 2023

Field Notes, Aleph Contemporary, The Bindery, London, 2022

The Culminating Moment, TM Lighting Gallery, London, 2019

Occupy Flutgraben, Flutgraben e.V.,Berlin, 2018

10-B, New River Studios, London, 2017

Bad Art, Bones and Pearl Studios, London, 2016

Ghost/New Life, Iklectik, London, 2015

Boomerang, C4RD Centre for Recent Drawing, London, 2015

Painting about Painting, Simmons & Simmons, London, 2014

Mollify, Gem Space, London, 2014

Sir John Cass Fine Art Degree Show, London, 2014

Transitional Objects', Cass Bank Space, London, 2013



Works included in the Simmons & Simmons collection in London, Leeds and Milan and Hogan Lovells collection in London



PRESS:


by Katja Blomberg for the Brandenburger Dom Residency, 2023

Als Stipendiat am Dom zu Brandenburg hat der aus Italien stammende, in London und Berlin ausgebildete Maler Jacopo Dal Bello (Jg.1989) KI gesteuerte Software eingesetzt, um die bis ins 12. Jahrhundert zurückreichende Kulturgeschichte des Ortes mit unserer digitalen Gegenwart zu verschmelzen. Sowohl die aus Backstein errichtete mittelalterliche Sakralarchitektur, als auch deren Ausstattung und Archiv war für den Künstler Anlass einer Werkreihe, die während eines dreimonatigen Aufenthaltes im Sommer 2023 vor Ort entstand ist.

Dal Bellos Bilder bestehen aus zerteilten, von Hand neu zusammengengefügten Leinwänden. Auf diesen fragmentierten Untergründen notiert er Zeichen aus der digitalen und analogen Welt, die wie schwebend vor leerem Hintergrund erscheinen. Die Geste des Zerstörens und Zusammensetzens am Anfang seiner künstlerischen Arbeit, setzt sich im Verlauf auf inhaltlicher Ebene fort. Zahlen- und Zeichenreihen erscheinen, die aus unterschiedlichen kulturellen Kontexten und Zeiten stammen. So sind zum Beispiel Zahlenkolonnen zu sehen, die im Kirchenraum den Klang des nächsten Kirchenliedes ankündigen. Oder Icons, die auf die Informationsfülle der Domstift- Homepage hinweisen. Dal Bello zitiert Graffitis, wie er sie auf einem Altarretabel des 14. Jahrhunderts im südlichen Seitenschiff gefunden hat. Die in den Goldgrund eingekratzten Buchstaben geben Zeugnis von einer langen Glaubenstradition, die Pilger aus aller Welt an diesen Ort geführt hat. Konkreter wird es, wenn der Künstler digital bearbeitete Fotoausschnitte der Domarchitektur auf der Leinwand wiedergibt. Etwa die barocke Kanzel im Hauptschiff, die er mithilfe jüngster KI-Technik optisch ins Fließen gebracht hat. Oder die Arkaden des Mittelschiffes, die er mit derselben 3 D-Technik auf dem Bildschirm räumlich so bearbeitet hat, dass die Architektur in Vogelperspektive erscheint. Mit einem Naturzitat aus dem Kreuzgangsgarten kombiniert entsteht eine syntaktische Dissonanz, die der Künstler durchgehend einsetzt. Überall lässt er die Dinge unverbunden im Raum stehen, so, als würde sie eine assoziativ-lockere Logik zusammenhalten. Dal Bello gelingt es damit unterschiedliche Zeit-, Raum- und Bildebenen spielerisch zu verdichten. Dabei führt er uns technisch die ganze Bandbreite bildhafter Möglichkeiten vor. Er greift zur Malerei, zu abgeklatschter Fotografie, zur Architekturzeichnung und farbig-skripturalen Zeichen, die er leicht wie auf einem Bildschirm auf seinen Leinwänden verteilt. So kreist er die Schnittstellen zwischen digitalen und analogen Wirklichkeiten ein und schaut dorthin wo es um Glauben, Wissen und Erinnern geht. So hält Dal Bello uns auf intelligente und sensible Weise den Spiegel einer veränderten Gegenwart vor.


by Andrew Hewish, for the solo Exhibition "Variations on Worldmaking", May 2020.

Jacopo Dal Bello’s painting deals in language - the play of language, it's slip and flux; a field of auto-poetics that painting carries as a peculiar capacity. There is also that strange presence of paint. Jacopo has dipped into the notations of others; of Twombly, of Bacon, of Guston. Yet this is not the pop recycling for our age of late capital, but instead a notation that sits as challenge. One question that has taxed modern practice what is the possibility of the entry of the new - its precursors? If the palimpsest, the archive, is the condition on which all things arise, then this test can be met head on as Jacopo does.These are not painterly quotations from these artists, but a recognition that the language of our world is an accretion; so it may as well be for painting. Twombly, Bacon, and Guston are singular challenges to any painter as they each created a highly specific visual expression, almost impossible to move on from; because they produced for themselves such complete worlds in rectangles. They are artists of the cul-de-sac, having rounded off their lives with a staged flourish of their own device.

Staging here is key, and with Jacopo's work there is an acknowledgement within the work of scene-setting. Yet within this staging is an energetic capacity; that last creamy theatrical flourish at the centre of Bacon's stage is turned in Jacopo’s work to vital animation. This stage is a revolve, enacting vivid signs of painting, meaning and living that spin before the viewer.

Animation of the line and its possibility forms part of Jacopo’s experimentation. There are the scratches and scuffles, scrawls and skid-marks; but also the anthropomorphic lines derived from an uncertain zone between design culture and cartoon. The enigmatic lettering seems sometimes to signal and at other times merely to settle; to clarify as line or design. There are surfaces which are fused as sticky mess with the ground, sealed; other areas where the ground is left untreated as its own empty field, waiting to be written on. The play between line and ground recalls El Lissitzky’s floating worlds. There is animation in the line itself, and there is the cartoon mode of line; how is it that a line, or a form, can be funny in itself – more than its reference to Dr Seuss’ squidgy collapsing forms? There is the gaseous, and the pendulous, of Reuben’s extreme bodies or Fragonard’s inflatables. Jacopo manages genuine humour in the relation of forms.

Humour and expressive form sit in counterpoint to tension and restraint. Forms coalesce and deflate; motifs push at our consciousness, but meaning is in retreat. These notations might be taken as questions similar in spirit to Michael Krebber’s work, but what saves the work from simply being an exposition of Norman Bryson's thoughts on painting-as-sign or the activated gesture from de Kooning’s brush, is the engaging dynamic evident in Jacopo's painting between conceptual play and material force. This is not merely an exercise in world-making; world-making here is part of the palette that contributes to that imminent, energetic field particular to painting.


by Rosa JH Berland, 2019

[...] From paintings to beautifully designed assemblages and sculpture, Dal Bello’s pictures and objects often begin with found elements, transformed through the process of imagination and experimentation. In these constructions, pale arrangements of paper, text, pigment, and discarded personal belongings are artfully juxtaposed to create a place of memory and poetic evocation.For the artist, not only has Arte Povera inspired his way of working but as well Berlin’s culture of recycling and reuse has informed the use of often enigmatic fragments within the mnemonic compositions. Dal Bello notes he takes advantage of Berlin’s frequent flea markets and the local habit of leaving one’s unwanted items on the street for others to take as they please. This inclusion of the ordinary object or material with historic references to old masters, and traces of life lived and vanished allows Dal Bello’s work to take on a narratival aspect that lies between truth and fiction. He notes: “The found materials bring forgotten and discarded elements to the same level of the painterly gestures and baroque fragments, and function as a re-evaluation of the way we look at and consider our surroundings, by challenging the rigid structures through which we interpret and categorize the world. All these different elements share the same potentiality for meaning.”

Dal Bello also holds an interest in the Fluxus movement, particularly the multiciliary approach. Indeed, before he began making visual work, the artist created sound pieces and has developed as of late a new “convergence with my visual work, both in themes and techniques.” As well, Dal Bello has been increasingly inspired by Pataphysics for “its iconoclastic approach and embrace of contradiction.”

Disruption and iconoclasm may be one element of Dal Bello’s work, but what distinguishes his approach is the ingenuity that we find in the construction and juxtaposition of form in every piece regardless of genre. In some of Dal Bello’s works, wood cabinets and vessels recall the wonder of the Kunstkammer, a foray into the mysterious and wonderfully populated artist or collector’s studio, an intimacy and richness revealed, traces of history, making and idiosyncratic collecting captured. Still others use drapery and found objects combined with gestural drawings and paintings, and imagery of the old masters.

The mark of the artist is found across canvas, paper, and textile delineated in rich expressive lines and shapes — a view into the alchemical process of making art. Abstract form reveals itself in pairings of texture, line, and abandoned materials. Paintings appear as if somewhere between contemplation and finish, exposed canvas, swathes of paint and mark making creating a musical beauty that lies between balance and imbalance, structure and the dissembled. Dal Bello’s remarkable work possesses a mystery bound within a simplicity of form and arrangement, a pared down beauty that also evokes a complex sense of memory and storytelling.


by Jon Sharples, from the solo exhibition "Elegy of the Flesh", London 2016

Jacopo Dal Bello forms elegies of the flesh and organic forms, aided by figurative memories. Emphasizing the painted surface as bodily surrogate through which space is experienced, his focus is on matter and its presence, in quiet opposition to those forms of communication that distance.

The body is “suggested” rather than described fully. With an open and fragmentary aesthetic that solicits reconstruction, Dal Bello’s paintings draw their ingredients from a range of contexts, including popular culture, art iconography, and found material.

The works presented explore the relationship between classicism and contemporary practice, often with an iconic painting taken as a starting point. The original work, or part thereof, is reduced to its structural base, in an attempt to shift elements of classicism toward a contemporary aesthetic that challenges not just the reification these famous works of art suffer, but also the flattening and distortion of history and memory.


C4RD Centre for Recent Drawing, 2017

Dal Bello's emphasis on materiality owes a debt to the Italian Arte Povera or Arte Informale movements. Having grown up in Italy, the materiality of painting was ever-present for Jacopo Dal Bello in the work of Alberto Burri, whose work is embedded in an exploration of the material. Combined with this is an interest in the work of linguist Antonio Gramsci and the semiotician Umberto Eco, Dal Bello collapses various painterly styles to produce a lattice of language and notation, including that of numbers and words, and different contexts – such as popular culture, art iconography and classicism. Contradictions emerge in the relations of the disparate elements; the visual signifiers gain a certain independence from their usual logic whilst retaining something of their historical impact