The 2026 Québec City Biennial: Art, Ice, and Geopolitics

The 2026 Québec City Biennial, curated by Didier Morelli, explores the interplay between art, ice, and water, questioning the permanence of borders through the lens of winter landscapes. Morelli emphasizes the significance of the cold season in shaping both physical and perceptual spaces, stating, “What do we do in the northern regions of North America at the end of February? We go out with our bodies and we meet wintry landscapes.” This biennial features works from 60 international artists across 41 locations, aiming to connect Québec’s geopolitical context with broader global issues.

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Artworks in the biennial address pressing political themes, such as colonialism and climate change. Jessie Kleeman’s installation, An Iceberg that Breathes (2024), reflects on Greenland's climate crisis and its historical colonial ties with Denmark. Morelli notes the evolving significance of this piece amid contemporary discussions on imperialism. Similarly, Minha Park’s A Story of Elusive Snow (2013) critiques the artificiality of manufactured snow, contrasting it with natural elements in the region.

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Joyce Joumaa’s video installation, Near Far, humorously engages with the 1995 Québec Referendum, using the song “My Heart Will Go On” to evoke themes of cultural hybridity and political tension. Joi Arcand’s neon text work highlights the importance of recognizing Indigenous languages within the context of Québec’s linguistic politics.

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The biennial features site-specific works that encourage interaction and reflection. Tania Candiani’s Listening to Ice and Moving Water invites participants to engage with the sounds of the St. Lawrence River, creating a meditative experience. Maria Ezcurra’s Pas Perdus-Dedans transforms viewers into participants within a labyrinth of metallic sheets, symbolizing the instability faced by those in detention due to climate change.

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The biennial also emphasizes ecological interdependence, as illustrated by Wendat storyteller Dominic Ste-Marie’s discussion of eel migration and its implications for local ecosystems. Ludovic Boney’s Ahchiouta’ah merges cultural and religious themes, projecting a woman in Indigenous regalia against a backdrop of modernity, while Elias Nafaa’s glass sculptures reflect on the impact of war and colonization.

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The 2026 Québec City Biennial runs through April 19, 2026, offering a platform for critical dialogue on art’s role in addressing contemporary geopolitical issues. Morelli’s curatorial approach invites audiences to reflect on the fluidity of identity and the interconnectedness of global narratives, making the biennial a significant cultural event in the context of ongoing discussions about climate change and imperialism.

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• “ In a world as solid as ice on the exterior but as fluid as water, he adds, “I wanted things to be both poetic and political.” — Didier Morelli, Curator

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• “colonization, and imperialism continued to, to enact in, in full force,” — Didier Morelli on Elias Nafaa’s work

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• “It just felt surreal and devastating, but also putting forward the importance of having work that talks about these things.” — Didier Morelli

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While the biennial has been praised for its thematic depth, some critics argue that the focus on geopolitical issues may overshadow the aesthetic experience of the artworks. Others suggest that the political undertones could alienate audiences seeking a more traditional art experience.

New York Observer