Scuola Internazionale di Grafica Venezia

08/09/2026

Pronti ad inchiostrare!
Sabato 12 settembre 2026
10:30 – 16:30
Ci dedicheremo al:
"MONOTIPO & XILOGRAFIA"
con l'Artista internazionale Marc Cote
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Il monotipo permette di lavorare direttamente sulla superficie di stampa creando esemplari irripetibili; la xilografia a tasselli aggiunge invece la possibilità di comporre l’immagine attraverso elementi incisi e sovrapposti.
A condurre il workshop sarà Marc Cote, artista e docente statunitense, Chair del Department of Art, Design, and Art History alla Framingham State University in Massachusetts.
Membro del Board of the Boston Printmakers e co-coordinatore della loro prestigiosa North American Print Biennial. Il suo lavoro è stato esposto in numerose sedi negli Stati Uniti e a livello internazionale, ed è presente in collezioni tra cui quelle di Harvard University, Boston Public Library e Kyoto Woodprint Association.
Un'opportunità unica per approfondire la stampa d'arte attraverso un approccio sperimentale e confrontarsi direttamente con un artista e docente di grande esperienza nel campo della grafica d'arte.
Ultimi posti.
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Info ed iscrizioni: https://shop.scuolagrafica.it/prodotto/monotipo-con-marc-cote-26-09-12/
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In foto: Dettaglio di Hill Bill - Monotipo e Xilografia
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Ready to Ink!
Saturday, September 12, 2026
10:30 AM – 4:30 PM
We’ll be exploring:
“MONOTYPE & WOODBLOCK PRINTING”
with internationally acclaimed artist Marc Cote
Monotype allows artists to work directly on the printing surface, creating unique, one-of-a-kind prints. Woodblock printing, on the other hand, offers the possibility of building an image through carved and layered elements.
Leading the workshop will be Marc Cote, an American artist and educator and Chair of the Department of Art, Design, and Art History at Framingham State University in Massachusetts.
He is a member of the Board of the Boston Printmakers and co-coordinator of their prestigious North American Print Biennial. His work has been exhibited extensively throughout the United States and internationally, and is held in collections including Harvard University, Boston Public Library, and the Kyoto Woodprint Association.
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Photo: Detail from Hill Bill — Monotype and Woodb

07/09/2026

SEPTEMBER HAS BEGUN AT THE SCUOLA
There are moments when Venice reminds you why artists keep coming back.
A window open onto the Grand Canal.
The light on the water.
The colours and sounds of the "Regata Storica" passing right in front of us.
A long table, good food, new friends, and the feeling that, for a moment, the whole world has gathered in one Venetian home.
This is how our September began.
We are delighted to welcome three guest artists to the Scuola:
Marc Cote, from Boston Printmakers
Veta Gorner, from the Royal Society of Printmakers, London
Anna Miller, from Southern Graphics Council International (SGCI).
Three artists, coming from three of our international affiliated printmaking communities, now sharing time, ideas and practice here in Venice.
We also welcomed Vanesa Cano Sanchez from Spain for her very first day as our new Erasmus student.
Thanks to Matilde Dolcetti, who opened the doors of her artist’s home and gave us the gift of experiencing the city not simply as visitors, but from within around a table, surrounded by art, conversation and the lagoon.
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SETTEMBRE È INIZIATO ALLA SCUOLA
Ci sono momenti in cui Venezia ci ricorda perché gli artisti continuano a tornare.
Una finestra aperta sul Canal Grande.
La luce sull’acqua.
I colori e i suoni della "Regata Storica" che scorre proprio davanti a noi.
Una lunga tavola, buon cibo, nuovi amici e la sensazione che, per un momento, il mondo intero si sia ritrovato in una casa veneziana.
È così che è iniziato il nostro settembre.
Felici di accogliere alla Scuola tre guest artist:
Marc Cote, da Boston Printmakers, Veta Gorner, dalla Royal Society of Painter-Printmakers, London e Anna Miller, dal Southern Graphics Council International (SGCI).
Tre artisti provenienti da tre delle nostre comunità internazionali affiliate alla grafica, che ora condividono a Venezia tempo, idee, esperienze e pratiche artistiche.
Abbiamo inoltre dato il benvenuto a Vanesa Cano Sanchez, dalla Spagna, per il suo primo giorno alla Scuola come nostra nuova studentessa Erasmus.
Grazie a Matilde Dolcetti, che ha aperto le porte della sua casa d’artista e ci ha accolti come sempre.

11/07/2026

It has been a true pleasure to host the Holy Cross Visual Arts Program once again this year at the Scuola Internazionale di Grafica.
A heartfelt thank you to Professor David Karmon and Professor Leslie Schomp for their dedication, enthusiasm, and outstanding coordination of this inspiring program.

Special thanks to our Master Printmaker, Roberta Feoli who guided the students with passion and expertise every morning and afternoon, supporting the evolution of their creative research from the first ideas to the final artworks.

Together they explored sustainable printmaking, traditional movable type, and the stories of the Venetian Lagoon, creating a collection of beautiful handmade artist's books each one a unique expression of creativity, craftsmanship, and place.

Thank you to all the students for your curiosity, commitment, and energy. It was a joy to share this creative journey with you, and we look forward to welcoming Holy Cross back to Venice again.

12/06/2026

Days of creativity, experimentation, and exchange at the Scuola Internazionale di Grafica!
We were delighted to welcome the students and faculty of the Hite Institute of Art & Design for an intensive workshop dedicated to monotype printmaking, typography, and the creation of handmade fanzines.
In the Scuola’s print studio, participants explored the expressive potential of monotype through playful experimentation with Akua inks and pigments, watercolor, and wax-based crayons, discovering unexpected textures, layers, and visual narratives.

The typographic work grew from words collected throughout the students’ Venetian experience, impressions, memories, encounters, and emotions that became the foundation for a series of letterpress-printed chine-collé elements. These were later brought together in a collective artist’s book, gathering prints from every participant alongside ingenious paper constructions, small folded objects, boxes, and keepsakes designed to preserve memories of their time in Venice.

A special thank you goes to our Master Printmaker, Roberta Feoli, whose attentive guidance, generosity, and expertise accompanied every stage of the workshop, fostering an atmosphere of curiosity, discovery, and creative confidence.

These days of international exchange have been filled with dialogue, learning, and artistic exploration, reaffirming the power of printmaking to connect people, places, and ideas.
Thank you to all the students and teachers who shared their enthusiasm, talent, and commitment. It has been a pleasure hosting you, and we hope to welcome you back to Venice again soon.

Fanzine Printmaking ArtistBook CreativeExchange Venice

25/05/2026

What a weekend of wonder, sharing, and creative energy.
During our latest residency critique, each artist opened a window into their personal research and experimentation, revealing the unique paths explored throughout their stay. From Jeff and Caroline’s delicate monotype investigations to Marieke’s charming “little boxes” artist’s book created during her Erasmus experience; from Shrenik’s "Perfect Storm" to Leigh’s new drypoint engraving, Jane’s bold experiments with BIG ink, and Letizia’s beautifully printed folders, every work carried a distinct voice, process, and story.
All of this unfolded under the thoughtful guidance and inspiring mentorship of Master Printmaker Roberta Feoli, whose experience and generosity helped shape an atmosphere of exchange, curiosity, and artistic dialogue throughout the weekend.

Beyond the studio, the artists also experienced one of Venice’s most magical traditions: the Vogalonga 2026. Generously welcomed by Matilde Dolcetti at Palazzo Dandolo, they shared moments of beauty, conversation, and inspiration while also admiring the extraordinary works of our Maestra Matilde herself.

A weekend that reminded us how art is not only made in the studio, but also through encounters, shared experiences, mentorship, and the wonder of discovering together.

20/05/2026

A joyful return to the studio with Vibeke Vildbrad Kristiansen, teacher at Rødding Højskole, Denmark, and her students, exploring the beauty of drypoint printmaking.
Guided by Master Printmaker Roberta Feoli, and inspired by Venice, our print studio, and the works currently exhibited in the Indonesian Pavilion, hosted by the Scuola until November, we immersed ourselves once again in the wonders of fine art printmaking.
Working on fake glass plates and using the more sustainable Akua Inks, we experimented, engraved, printed, and discovered how contemporary techniques can engage in dialogue with tradition in exciting new ways.
Art and collaboration continue to leave their mark. ✨

11/05/2026

Another Monday, another beautiful shift in the studio. New artists arrive, others prepare to leave, and the cycle of sharing continues, month after month, day after day.
Final critiques become moments of reflection, care, and transition, helping pass the torch and keep the print studio alive through every new residency. What makes this place special is how knowledge keeps circulating: even former Erasmus participants come back to support those who are here now, strengthening the spirit of collaboration that grows with every encounter.

Today we say goodbye to Ian as he heads back to Australia, thank you for everything you brought to the studio.
We continue working alongside Jane, who will stay with us for the next month.
And we warmly welcome Letizia, Mary, and Sherenik to the residency.

A new week begins, and the shared journey continues, always supported by Marieke and our Annika, the indispensable Marta, and our printshop manager Roberta.

04/05/2026

We share our daily lives with these exceptional artists and with the curator and staff who, step by step, have shaped the history and the works that the public will discover in this unique pavilion of La Biennale di Venezia

The Indonesian Pavilion at the forthcoming 61st Venice Biennale flips the familiar script of world discovery, casting a kingdom from the Archipelago as the explorer who encounters the West. TEXT BY INDONESIAN PAVILION

01/05/2026

There’s a kind of invisible labor behind every exhibition that people rarely see.
What might appear, at first glance, as a beautifully arranged collection of works is in reality the result of days, sometimes weeks, of physical effort, problem-solving, and shared dedication. Especially when the goal is not just to present art, but to tell a story: the story of artists who created their works within the very spaces of the Scuola Internazionale di Grafica Venezia, where ideas were born, tested, and transformed into something tangible.

This is not just about hanging images on walls. It’s about giving each piece the space, the light, and the care it needs to truly speak. It’s about making the works accessible, not only physically, but emotionally, so that visitors can connect with them, feel them, and understand the everyday realities from which they emerged.

Right now, everything is still in progress. The pavilion is taking shape through the hands and minds of many: from the curator to the technicians, from the artists to the entire staff. Everyone is contributing, each in their own way, to build something that goes beyond aesthetics, something that can welcome, engage, and resonate.

What will open to the public at the Biennale di Venezia 2026 is not just an exhibition, but the result of a collective effort, a shared vision, and a deep respect for the process behind the art.

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22/04/2026

It was a great honor to welcome Peter Rutledge Koch to our print studio, twenty years after the production of "Watermark" a landmark in contemporary fine press bookmaking and still a key reference in our teaching artist’s books today.
The project, devoted to Joseph Brodsky’s Venetian essays, was produced in a limited edition of approximately 50 copies between 2006 and 2008, designed and letterpress printed by Peter Koch.
The book consists of 80 pages, printed on handmade Twinrocker “Da Vinci” paper, specially produced for the edition and featuring a custom watermark designed by Christopher Stinehour and Susan K. Filter.
The visual core of the work is composed of 14 photogravures by Robert Morgan, printed at Magnolia Editions in Oakland from plates engraved by Unai San Martín, and integrated into the book’s editorial structure.
The text was printed in Venice at the Scuola Internazionale di Grafica Venezia, using Monotype Dante type cast in lead at the Olivieri type foundry in Milan.
A central element of the project was the use of a historic letterpress machine from the Tipoteca Italiana Foundation, transported to Venice and temporarily installed for the production of the book.
The edition was completed in Berkeley, where the binding was carried out using handmade papers from Cave Papers (Minneapolis). Special editions include full vellum bindings and clamshell boxes containing signed suites of the prints.
The project has also been described as “Printing in the Shadow of Aldus”, referencing the Venetian Renaissance tradition and the legacy of Aldus Manutius.

Seeing Peter again by the letterpress press was truly moving. As always, he brought generosity, attention, and thoughtful words for everyone present, a presence that continues to inspire and resonate deeply.

A heartfelt thank you to Peter and Susan K. Filter for sharing memories, materials, and reflections on this extraordinary project, together with Director Lorenzo de Castro, Deirdre Kelly, and our Master Printmaker Roberta Feoli.