Arctic Fever: A New Exhibition Traces the Roots of Modern Geopolitics in 19th-Century Polar Obsessions

Arctic Fever: A New Exhibition Traces the Roots of Modern Geopolitics in 19th-Century Polar Obsessions

TORONTO – Long before a U.S. president publicly mused about purchasing Greenland, an American ship made a notable appearance in Nuuk's harbor in 1861. Its arrival was significant enough to be captured in a detailed illustration in Atuagagdliutt, the world's first newspaper to use color illustrations, published in the Greenlandic language of Kalaallisut.

This historical artifact is a centerpiece of "Arctic Fever," a newly opened exhibition at the University of Toronto's Thomas Fisher Rare Book Library. The collection, comprising lithographs, maps, books, and ephemera from the zenith of 19th-century polar exploration, draws uncanny parallels to the contemporary race for influence and resources in the thawing North.

"Contemporary headlines about strategic interests in the Arctic can seem sudden, but they are part of a much longer narrative," said Dr. Isabelle Gapp, an art historian at the University of Aberdeen and co-curator of the exhibition. "The U.S. administration's view of Greenland's immense strategic value today directly echoes Secretary of State William Seward's formal push to acquire both Greenland and Iceland in 1867."

The exhibition showcases the potent mix of ambition, national pride, and resource hunger that has driven external interest in the Arctic for centuries. While former President Donald Trump later clarified he would not seek Greenland by force, the current White House has consistently emphasized American dominance in the region as "non-negotiable," a stance solidified by diplomatic posts and policy papers.

Co-curator Dr. Mark Cheetham, of the University of Toronto, notes the exhibition's unfortunate timeliness. "While it's sobering that politics makes this historical collection so resonant today, it provides a crucial opportunity to look beyond immediate headlines. The Arctic is where issues of environmental change, migration, and resource extraction collide with immense force."

A core aim of "Arctic Fever" is to challenge the enduring colonial narrative of the Arctic as a barren wilderness awaiting conquest. "The idea of a 'man versus nature' struggle, of overcoming a void, is a 19th-century construct that persists," Gapp explained. "This was never empty land. It has been home to Indigenous peoples who developed profound, sustainable relationships with its environment."

The exhibition highlights this through stories like that of Iligliuk, an Inuk woman who assisted British explorer William Parry in the 1820s. Her detailed maps, based on winds, ice movements, and land contours rather than compass points, were hailed as "astounding" for their accuracy. Her knowledge represented a sophisticated understanding of the land, starkly contrasting with the European view of the Arctic as a mere corridor or a prize.

The "ghost" haunting the exhibition is Sir John Franklin, whose doomed 1845 expedition sparked numerous rescue missions. These failed searches ironically generated an unprecedented volume of scientific data about the region. The exhibition features poignant human artifacts from these long polar winters, including silk playbills for shipboard theatricals—a testament to the crews' attempts to sustain morale.

Ultimately, the fate of Franklin's ships, the Erebus and Terror, remained a mystery until researchers heeded Inuit oral history, leading to their discovery in the last decade. This, the curators argue, is a powerful lesson in whose knowledge holds the key to understanding the Arctic.

As climate change accelerates access to resources and shipping routes, the modern "Arctic Fever" intensifies. "The history of the Arctic is not singular; it is layered with many histories of movement, life, and interaction," Gapp concluded. "Recognizing this long, rich, and varied past is essential as we navigate its contested future."

Reader Reactions:

David Chen, History Professor: "This exhibition brilliantly contextualizes today's geopolitics. It shows that the 'scramble for the Arctic' isn't new; it's the latest chapter in a centuries-old story of projection and power. The focus on Indigenous knowledge, like Iligliuk's maps, is a vital corrective."

Anya Petrova, Environmental Policy Analyst: "The parallels are chilling. The 19th-century obsession with transit and extraction paved the way for the environmental crisis we see today. This show forces us to ask: will we repeat the same exploitative patterns, or finally learn from the sustainable models of Indigenous communities?"

Michael Briggs, Political Commentator: "This is just academic hand-wringing. The reality is that the Arctic is opening up, and strategic competition is inevitable. Seward and Trump both understood a simple truth: control of terrain like Greenland is a permanent national advantage. History doesn't teach caution; it validates the pursuit of power."

Eleanor Shaw, Museum Curator: "The material culture on display—the playbills, the personal journals—is incredibly moving. It humanizes the grand narratives of exploration and reminds us that behind every geopolitical maneuver are individuals, both the ambitious and the vulnerable, navigating an extreme world."