The Centro per l’arte contemporanea Luigi Pecci in Prato is giving Verita Monselles a focused exhibition that places the artist and photographer’s work in dialogue with questions of female and feminist thought through photography and performance. Titled "Verita Monselles. CARNALE," the show is scheduled to run until August 2026, positioning Monselles within one of the museum’s major 2026 programming strands.
The exhibition is part of the Centre Pecci’s broader cultural program for 2026, "Passaggi: di mano in mano," which the institution says includes a sequence of exhibitions and events across the year. Within that framework, Monselles’ project stands out for its emphasis on body, identity and visual experimentation, and for the way it links photography to performance as forms of artistic inquiry.
The Centro Pecci has framed the show as an exploration of “pensiero femminile e femminista,” or female and feminist thinking, suggesting a curatorial interest in both historical and contemporary readings of gender and representation. While the museum’s online notice provides only a brief description, the decision to dedicate a solo exhibition to Monselles signals her continuing relevance in conversations around women’s practices in photography and performance-based art.
The exhibition also arrives alongside another notable project at the museum: "ROTTE. Arte di rottura dalla donazione Carlo Palli," opening on 31 May 2026 and drawn from the collector Carlo Palli’s donation to the institution. That exhibition presents 150 works selected from a much larger body of material donated to the museum, underscoring the Centro Pecci’s effort to connect its temporary program with the growth of its permanent holdings and with the history of postwar experimental art in Italy.
Taken together, the two exhibitions point to a clear institutional direction. The Pecci is not only showcasing individual artists and collections, but also using 2026 to map different forms of artistic rupture, experimentation and cultural memory. Monselles’ exhibition, in particular, extends that mission into the terrain of feminist art history and visual performance, areas that remain central to how museums reassess the canon and expand the frame of contemporary art.
The museum’s calendar also shows the exhibition embedded in a busy public program, including related activity around the show. One scheduled P.O.V. guided session dedicated to "Verita Monselles. CARNALE" was later announced as canceled, while a Pride Month event at the museum referenced the exhibition in its own programming notes. That crossover between exhibition, public events and institutional outreach reflects the way the Centro Pecci is using the show as part of a wider conversation with audiences.
For the museum, and for Italian contemporary-art discourse more broadly, the importance of "Verita Monselles. CARNALE" lies in the visibility it gives to an artist working across photography and performance through a feminist lens. In a year when the Centro Pecci is also highlighting major collection-based and experimental histories, Monselles’ exhibition helps sharpen the museum’s profile as a place where underlined art-historical narratives and current debates are brought into the same frame.
