L’Œil de Poisson was founded in 1985 by a group of young artists who wanted their own means of production and dissemination. In 1995 the centre joined the Méduse cooperative, of which it is a founding member.

Initially dedicated to photography, the centre’s programming quickly expanded to reflect the multidisciplinary interests of its members. In 1988, l’Œil began presenting projects and events that combined visual arts, dance, theatre, and poetry. Festival de musique ennuyante [the Festival of boring music] (1988) marked a turning point for the centre as a welcoming environment for hybrid artistic practices.

Since its founding, l’Œil de Poisson has actively helped artists from here and beyond reach larger audiences, by showcasing innovative, experimental, and alternative artistic practices. Over the years, the centre has presented numerous themed exhibitions and events directly addressing contemporary issues related to art and its history, such as D’hommage à l’histoire [From homage to history] (1986), Poisson d’Avril [April Fool’s] (1996), and, in 2000, the first edition of what would become Manif d’art – La biennale de Québec [Art protest — the Québec biennale].

Land recognition

L’Œil is located on the ancestral lands of the Huron-Wendat Nation, Nionwentsïo, and works to maintain respectful relationships with artists from neighbouring Indigenous communities. Diversity, equity, and inclusion are fundamental to our arts programming and internal policies.

Numerous collaborative projects have emerged from the centre’s commitment to shared creation and interdisciplinary experiments. These include Québec Gold (2017), in Reims, France; Truck Stop (2017), in partnership with the CLARK Centre; and L’Université Populaire [The People’s University] (2019), a space for creatives to gather and exchange knowledge and artistic practices. From 2019 to 2024, the centre’s programming highlighted “art in the making.” The calendar was adapted to foster interaction, and calls for proposals were redesigned to encourage participation from multiple disciplines and include marginalized and racialized artists. These efforts bore fruit in the projects YAHNDAWA’, Portages entre Wendake et Québec [Portage between Wendake and Québec] (2022) and P pour Palestine [P for Palestine] (2024).

The centre regularly collaborates with cultural organizations active on the provincial, national, and international art scenes, providing members and local communities with a wealth of different experiences.