Palazzo Monti, Piazza Tebaldo Brusato, 22, Brescia (2026)

07/09/2026

Palazzo Monti presents a choir on its façade on Saturday 12 September at 11am and 2pm: Tableau Vivant, a performance by collective VOCALISE, conceived as a gift to the city and passers-by to celebrate the reopening after the summer break.

Under the artistic direction of Maria Craffonara, the performance features cellist and vocalist Rina Kaçinari and an artistic intervention by Elisa Grezzani Elisa Grezzani, supported by ECK Museum of Art, Brunico ECK Museum of Art.

From windows positioned across its different floors, the voices of VOCALISE VOCALISE_voiceartperformance inhabit the architecture through music and choreographed movement. Elisa Grezzani’s Flying Carpets are unfurled from the windows and integrated into the performance, extending the composition across the façade, while the performers wear textile works by the artist.

Accompanied by Rina Kaçinari on cello and voice, Tableau Vivant moves across centuries of European musical history, from Claudio Monteverdi and Franz Schubert to Arvo Pärt, with songs performed in German, Italian, Ladin, French and Albanian.

Free admission, no reservation required.

05/08/2026

Summer Break!

Palazzo Monti will be closed throughout August and will reopen in September.

Following the summer break, “Impotenza”, ’s solo exhibition curated by , will be back on view.

DM or email [email protected] to book your free visit.

Photo Piercarlo Quecchia

23/07/2026

On view at Palazzo Monti, ‘IMPOTENZA’, a solo show by former resident Uffe Isolotto Uffe Isolotto and curated by Edoardo Monti.

Im [Model for a Sculpture in Marble and Patinated and Painted Bronze, to be Destroyed After the Process is Over]
2026
Foam, acrylic composite, spackle, paint, graphite, silicone, hair, goat and calfskin vellum
235 x 161 x 66 cm

Shot by Piercarlo Quecchia

11/07/2026

La salita, a solo exhibition by Andrea Bocca Andrea Bocca, curated by , is on view at Fertile Fertile through 25 September 2026.

Following his solo exhibition at Palazzo Monti in 2023, Bocca presents a new body of work conceived specifically for Fertile. Through three sculptural interventions, the exhibition engages with the primary elements that define the former glassworks — the Floor, the Ceiling, and the Void.

The works traverse the space, take root within it, and establish a dialogue with the architecture, exploring the relationships that shape and define it.

On the occasion of the exhibition’s closing event, on 25 September 2026, a publication dedicated to the exhibition will be presented, featuring contributions by Chiara Spagnol chiara spagnol, (Nicolò Galeazzi and Martina Salvaneschi), and Francesco Fusillo.

Photos by G*T

07/07/2026

Behold the Palazzo Monti cappellino - the summer accessory you didn’t know you needed.

Embroidered in Brescia - link in bio - limited supply ❤️

Shot by Piercarlo Quecchia at Palazzo Monti

03/06/2026

Details from ‘Birds of My Neighbourhood’, a solo show by former resident Sam Cockrell and curated by .castelbarco.

[…] Each work begins as what the artist describes as a “micro interaction” with a living being, a seemingly insignificant moment that, through painting, is expanded, reworked, and ultimately elevated into something more substantial.

Art becomes a means of intensification — a way of making memory more vivid and more durable — particularly in the larger works, where scale amplifies the emotional weight of an otherwise fleeting encounter.

This relationship between immediacy and recollection is further articulated through Cockrell’s use of airbrush. Working exclusively with acrylic and airbrush, he has gradually abandoned the use of tape in favour of a fully freehand approach, embracing a “soft-on-soft” visual language in which contours dissolve and forms remain slightly indeterminate. The images appear almost as memories do: blurred at the edges, resistant to full clarity, suspended between presence and disappearance, as if attempting to grasp something intangible. […]

Photos by

29/05/2026

Details from ‘Birds of My Neighbourhood’, a solo show by former resident Sam Cockrell and curated by .castelbarco.

[…] Each work begins as what the artist describes as a “micro interaction” with a living being, a seemingly insignificant moment that, through painting, is expanded, reworked, and ultimately elevated into something more substantial.

Art becomes a means of intensification — a way of making memory more vivid and more durable — particularly in the larger works, where scale amplifies the emotional weight of an otherwise fleeting encounter.

This relationship between immediacy and recollection is further articulated through Cockrell’s use of airbrush. Working exclusively with acrylic and airbrush, he has gradually abandoned the use of tape in favour of a fully freehand approach, embracing a “soft-on-soft” visual language in which contours dissolve and forms remain slightly indeterminate. The images appear almost as memories do: blurred at the edges, resistant to full clarity, suspended between presence and disappearance, as if attempting to grasp something intangible. […]

Photos by

12/05/2026

Ciao Adam, welcome to Palazzo Monti!

Adam Linn’s practice contorts the familiar into uncanny realities steeped in seduction. Using a voluptuous visual language, Linn works across an expanded drawing practice to probe relationships between sexuality, power, gender, desire and representation. His subjects are intimate close-ups of objects that typically evade visibility due to their ordinariness. Forms like doorknobs, keyholes, handles, faucets and banisters come alive with dynamism and sensuality, leveraging their mundane-ness into evocations of the erotic. By zooming in he is able to zoom out, transforming commonplace fixtures into body parts, orifices, and jungle gym-like worlds. His layered colored pencil process coaxes these static forms into realms of fe**sh, converting inert objects into hyperactive beings.

Linn (b. 1995 Pittsburgh, PA) received a BFA in Printmaking from the Rhode Island School of Design and an MFA in Visual Arts from SUNY Purchase. He has had solo exhibitions with Turley Gallery in Hudson, NY, Steve Turner Gallery in Los Angeles, CA, Marvin Gardens in Ridgewood, Queens and JPS Gallery in Tokyo, Japan. He has exhibited nationally and internationally in New York, NY, Los Angeles, CA, Purchase, NY, Troy, NY, Montpelier, VT, Pittsburgh, PA, Greensburg, PA, Austin TX, Berlin, DE, Barcelona, ES, Tokyo, JP, Central, HK, Shanghai, CN and London, EN. Linn has participated in residencies at Vermont Studio Center, Anderson Ranch Arts Center, Brewhouse Association, The Macedonia Institute, Millay Arts, Robert Blackburn Printshop, Manhattan Graphics Center and the Kimmel Harding Nelson Foundation. He currently lives and works in Brooklyn, NY.

11/05/2026

Details from ‘Birds of My Neighbourhood’, a solo show by former resident Sam Cockrell and curated by .castelbarco, on view through June 5th.

[…] This attention extends to the ways in which these animals inhabit the built world. Birds are not made for cities, yet they persist within them, adapting with a logic that precedes human design. Pigeons, for instance, evolved to nest along cliffs; the verticality of urban architecture becomes, in this sense, an extension of their original habitat. Buildings function as artificial cliffs — structures that birds repurpose instinctively, occupying ledges and heights much as they once did in rocky landscapes. Within Birds of My Neighbourhood, this adaptive continuity unfolds across two distinct urban contexts: Brescia, where the works were developed during his residency, and New York City, where he lives. These environments present markedly different visual and spatial conditions. Brescia, smaller and more verdant, is characterized by its historical textures — terracotta roof tiles and traditional stone-paved streets — while New York unfolds through verticality, density, and the familiar imagery of skyscrapers and subway infrastructures. Despite these differences, the birds move seamlessly between them, repeating and transforming their behaviors; the city changes, but their gestures remain.

Cockrell’s paintings originate in moments that resist duration. The encounter is instantaneous — a glance, a movement, a disappearance — and demands a form of engagement rooted in attentiveness and speed. Often supported by quick photographic references, the process nonetheless relies heavily on memory, on reconstructing not only the image but the sensation of having witnessed it. What emerges is less a document than a translation: an attempt to hold onto something that is already slipping away. […]

Photos by

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