Across the exhibition, a cast of recurring characters moves between the works on view, mediating between what is shown and those who come to see it — among them The Hypocrite, The Letter Y, The Listener, The Paranoid, Sappho, The Piss Goblin, or a horde of Zombies. Authored by the participating artists, writers, and collaborators, these figures turn the exhibition into a polyphony: a space where many positions speak together without collapsing into a single message.

Chorós unfolds within the infrastructure laid down earlier in Shedhalle’s programme. The Re-Props — modular works that function at once as artworks and as exhibition architecture — return here, reconfigured, to stage the gathering. They appear, recede, and reappear from one chapter to the next, carrying the memory of previous arrangements into the present one.

Like the programme it belongs to, Chorós is conceived not as a finished exhibition but as a staging — a durational, evolving arrangement that gathers voices over time. To speak all at once, after all, is not to agree: it is to make room for many moods, registers, and truths within a single shared space.