1989, Paderno del Grappa (Italy)




2021 - 2023 Universität der Künste, Berlin
2011 - 2014 Sir John Cass School of Art, London
2010 - 2011 Byam Shaw School of Art, London


Collection of inaccuracies -2-
Zine publication, Winter 2021

Vergessene Objekte,
Exhibition with Ariane Hakami, Berlin, 2022

Music cassette release of recent Berlin recordings, 2022

Book publication developed from a study on Hans Vaihinger, The Philosophy of 'As if': A System of the Theoretical, Practical and Religious Fictions of Mankind, 2022


Solo exhibitions:

Tratteggi Anacronistici
Spazio Scuderia, San Zenone, Italy, 2021

Variations on Worldmaking → FOR THE VIRTUAL SHOW,
Aleph Contemporary, 2020
curated by Jon Sharples with a critical essay by Andrew Hewish

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

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

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

Selected group shows:

The Just, Aleph Contemporary, 2020

Domino #2, Salve Berlin, Berlin, 2019

The Culminating Moment, TM Lighting Gallery, London, 2019

B.03, Studio Peter Buechler, Berlin, 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


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


“Every work is an enclosed experiment on language; a collision of different visual contexts, that bridge fictitious imaginaries and historical moments …”

[...] 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