JULIEN CREUZET INCLUDED IN DISSIDENT CHORUS - BUSAN BIENNALE 2026

The gallery is glad to announce that artist Julien Creuzet will be included in Dissident Chorus, Busan Biennale 2026, on view from August 29 through November 1, 2026 at Busan Museum of Contemporary Art, Space OneZ, Former Busan Nam High School, Korea.

Long before language was disciplined into order, there was vibration: sound carried by water, air, and bodies moving together. Dissident Chorus begins from this premise that sound, like water, resists containment, erodes borders, and carries memory without permission. Busan Biennale 2026 looks at how waves and frequencies between the sea, human and non-human bodies attune to each other, investigating how embodied and sonic practices can become tools for communication, healing, and resistance.

Set in Busan, a port city shaped by movement, labour, migration, maritime exchange, and histories of civic assembly, Dissident Chorus asks how sound can become a language of resistance and solidarity. Rooted in the belief that sound, like water, resists containment, the exhibition follows sonic and embodied practices as living forms of communication, healing, resistance, and relation.

From work songs and protest songs to ritual rhythms, club sounds, and collective chants, sound has long organised bodies, carried memory, and opened spaces of solidarity when language is restricted or exhausted. At the same time, Dissident Chorus returns to language’s potential to hold ambiguity, complexity, and secrets, moving beyond grammar and sanctioned speech to attend to gesture, breath, rhythm, and the presence of bodies gathered in proximity.

Within this framework, the final line-up brings together artists and collectives whose practices move across sound, music, performance, choreography, club culture, archival research, moving image, installation, sculpture, painting, drawing, and socially engaged work. Rather than presenting the biennale as a primarily visual encounter, their works give form to Dissident Chorus through voices, bodies, scores, images, archives, radio broadcasts, maps, and live situations. Together, they treat sound as material, the body as archive, and assembly as a political form.

The exhibition unfolds across three venues as a polyphonic score, each site tuning into a distinct frequency within Busan’s larger resonance. The Busan Museum of Contemporary Art opens the first movement at an ecological threshold where river, sea, and bird migration routes converge, gathering practices of care, regeneration, and worldbuilding. The second movement unfolds at Space OneZ, a century-old marine warehouse in Yeongdo, carrying the exhibition into a lower register of port histories, labour, aquatic myth, and protest. At the Former Busan Nam High School, the final movement becomes a rehearsal space for bottom-up knowledge, oral histories, censored materials, and futures still forming.

Alongside the exhibition, Busan Biennale 2026 will present performances, sound projects, artist talks, and public programmes throughout the biennale period, extending the exhibition as a space for listening, gathering, and learning together. Further details will be announced in due course.