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

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. […]

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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. […]

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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. […]

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03/05/2026

🌞🌞🌞

07/04/2026

Ciao! Join us on Friday April 17th, 6–9 pm at Palazzo Monti, for the opening reception of ‘Birds of My Neighborhood’, a solo show by Sam Cockrell Sam Cockrell , currently in residence.

Bringing together a new body of paintings, the exhibition is rooted in a careful observation of animals, especially birds. Moving between the artist’s neighborhood in New York and the areas around Brescia, the works bring together different environments and moments experienced during his time in residence. Cockrell focuses on small, often overlooked details, capturing birds as they appear in everyday life. Some feel familiar, others slightly out of place — reflecting both local encounters and distant memories. The exhibition offers a quiet reflection on looking, noticing, and connecting with the nature and what surrounds us, where painting becomes a way to record and translate these encounters.

01/04/2026

Palazzo Monti is pleased to announce a new collaboration with Domo Damo .damo, an artistic residency in São Paulo conceived as a space for exchange, experimentation, and creative immersion. Set within the first brutalist house designed by Paulo Mendes da Rocha, the residency offers a unique environment where architecture, nature, and artistic practice coexist, fostering dialogue, research, and shared experience among artists working across disciplines.

Together, we are launching a joint residency program that will support one artist across two contexts and two continents: a three-month residency at Domo Damo from October to December 2026, followed by a residency at Palazzo Monti in March 2027. The selected artist will be chosen jointly by both teams.

This opportunity is now open within our application process. Applicants can express a specific interest in this program when applying via www.palazzomonti.org by clicking on Apply Now or through the link in our Stories.

The selected artist will be notified by mid June.

05/03/2026

Welcome to Palazzo Monti, Alexandra!

Alexandra Barth .barth (b. 1989, Malacky) is a Slovakian artist living in Sanguinetto, Italy. She received her degree from the Academy of Fine Arts and Design in Bratislava in 2013, and went on to become an active participant in Bratislava’s art scene in the years that followed. She was offered her first opportunity to exhibit abroad in 2021 at the newly opened Chris Sharp Gallery in Los Angeles. In recent years, she has exhibited with various galleries across Europe and the United States, including Document (Lisbon, 2025), Loom (Milan, 2024), Mrs. (New York, 2023), Photoport (Bratislava, 2023), A SUD (Pescara, 2022), and Stone Projects (Prague, 2022). She is currently represented by Mrs. Gallery in New York.

Barth’s visual language is rooted in mundane middle-class material culture, often sourcing images from cheap online marketplaces. These everyday objects, light fixtures, couches, tiling, become elevated through technique and composition, creating a kind of painterly sublimation of domestic life. Yet this aestheticization also raises class-based questions: What fantasies do these interiors enable? Whose social reality do they portray, and who owns it?
Having spent her formative years among the Soviet-style housing blocks of Petržalka, Bratislava, and later relocating to rural Veneto in 2022, Barth’s visual language holds both of these contradictory influences in tension - order, uniformity and abstraction on one hand, ornamentation and sumptuousness on the other.

19/11/2025

Last but not least, we introduce the fresco that decorates one of our two main exhibition rooms at the Palazzo.

Standing beneath this 1750s fresco feels like stepping into a living myth. Apollo, radiant at the center, presides over the nine Muses—each the spirit of a different art, each guiding human creativity.
Around him gather:

Calliope — epic poetry
Clio — history
Erato — love poetry
Euterpe — music
Melpomene — tragedy
Polyhymnia — hymns and sacred poetry
Terpsichore — dance
Thalia — comedy
Urania — astronomy

Together they form a celestial circle of inspiration, a reminder that every art has its own voice, yet all return to the same divine source.

18/11/2025

Humans beware - don’t you dare play God. The fresco that decorates the palazzo’s main staircase communicates this loud and clear.

This mid-1700s fresco depicts the dramatic episode of Zeus and the Fall of Phaëton, a narrative drawn from Ovid’s Metamorphoses. At its center, Zeus hurls his thunderbolt to stop Phaëton’s catastrophic attempt to guide the sun’s chariot, capturing the moment when divine authority intervenes to restore cosmic order. Encircling the mythological scene are several zodiac signs—Virgo, Leo (the Lion), Cancer, Gemini (the Twins), and Taurus—which situate the drama within a celestial framework. By weaving together Ovid’s classical tale and the symbolic language of the zodiac, the fresco creates a compelling allegory of ambition, fate, and the harmony of the heavens.

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