Choe U-Ram (b. 1970) has been creating intricate "Anima-Machine" based on fictional theories derived from archaeology, biology, and robotics. His work originates from the idea that movement is the essence of all living things, and it reflects the desires of human society within a civilization driven by technological advancement.

Choe's work is based on the premise that this artificial mechanical mechanism can exist as living beings. By showcasing the beauty of vitality through machines, his art prompts contemplation on the meaning of life and what it means to be alive.

His early anima-machine Ultima Mudfox (2002) consists of models of an adult and a larva, along with a narrative about the lifeform itself. According to its story, the “Ultima Mudfox” is a mysterious creature that was accidentally captured on film at a subway construction site in 2002.

Researchers speculate that this lifeform emerged from nano-machines, which had been commercialized 33 years earlier. These nano-machines, thriving beneath the city's electromagnetic-rich ground, repeatedly self-replicated and evolved, eventually giving rise to new species.

The Mudfox's nanomachines take approximately 70 hours to create 5 to 15 larvae through molecular combination. These larvae move underground using three magnetic legs and three fins that propel them with light waves. About a year later, the larvae swim around subway areas and eventually enter subway tunnels to live. Some of them attach themselves to the underside of subway cars using their magnetic legs, parasitically living along subway routes for up to three years.

Larvae that fail to attach are absorbed into the tunnel concrete and perish, but those that succeed have the opportunity to grow into adults. Scholars believe this parasitic attachment occurs due to the abundant energy intake, though some suggest it may be an observation period for gathering information about the human world.

In this way, Choe U-Ram assigns different sci-fi narratives to his anima-machines. This storytelling helps audiences perceive these metal machines as living organisms.

In 2004, Choe U-Ram introduced a new anima-machine called Echo Navigo, which featured a more advanced mechanical structure. This lifeform is said to live around urban antennas, feeding on various transmitted and received signals. These creatures have fins that allow them to fly by using the flow of radio waves, and during the day, they can camouflage themselves by becoming transparent, making them invisible to the human eye.

This creature was discovered by telephone technicians investigating strange sounds occasionally heard during phone calls. It turns out that when the Echo Navigo swims rapidly around a wireless phone antenna, feeding on and expelling radio waves, the resulting echoes can be heard in phone devices.

The Echo Navigo reproduces by planting seeds on phone antennas. These seeds grow into small flower-like polyps that feed on static electricity flowing through the antenna, and when they mate with other polyps, they form an egg that begins constructing components to become a new anima-machine.

Through Opertus Lunula Umbra (2008), presented at the Liverpool Biennial in 2008, Choe U-Ram's narrative context surrounding his anima-machine became more concrete and expanded further. Similar to his previous mechanical creatures, this new lifeform, meaning "Hidden Moon Shadow", was said to be observed in urban environments, particularly harbor cities. This creature was composed of structural and mechanical components from both ancient sunken ships and modern vessels.

Choe established a fictional organization called the "United Research of Anima Machine (URAM)" to study such lifeforms, and he described the artwork Opertus Lunula Umbra as a model created by this research institute. By doing so, he transformed the exhibition space into a setting where the research achievements of the institute were displayed.

Starting in 2010, Choe U-Ram's anima-machines began incorporating mythological structures. For instance, Arbor Deus (2010) presents a mythological worldview based on humanity's excessive fanaticism and desire for technological civilization.

The narrative goes as follows: "In ancient times, when a twin planet began drifting away from the sun and freezing, humans sought help from the gods. Through the gods' sacrifices, winged iron trees grew to save the planet. However, the humans, impatient for results, over-rotated the wombs of these trees, bringing the planet too close to the sun. In the end, humanity ignored the gods' warnings and lost their civilization, leading to their downfall."

Choe U-Ram's work Custos Cavum (2011) also incorporates a mythological structure. This anima-machine, which moves subtly as if breathing, serves as a guardian, protecting small holes that connect two worlds, ensuring they remain undivided. However, as the existence of the other world fades from human memory, the Custos Cavum faces extinction.

The myth of these two connected yet separated worlds invites reflection on the relationship between humans and non-humans, as well as the "Other." The Custos Cavum acts as a medium of communication between these worlds, and their extinction mirrors the absence of communication in our society.

However, Choe adds a hopeful note at the end of this myth, mentioning that a "Unicus" spore sprouted from the last remaining Custos Cavum when a hole connecting to another world reopened somewhere in the universe, leaving room for optimism and the possibility of improvement.

On the other hand, Choe U-Ram's works presented in 2012 take on a more familiar appearance, distinct from his usual intricate, sci-fi-inspired anima-machine. For instance, Merry-Go-Round is an installation featuring a small carousel that spins to music, just as its name suggests. At first glance, it seems ordinary, but at a certain point, the music rapidly accelerates, and the carousel begins to spin fiercely, creating a strange and unsettling scene.

In this work, Choe reflects the contemporary Korean lifestyle. Like the endlessly revolving carousel, the intense energy that Koreans expend in pursuit of money, fame, and power is symbolized by the dizzying speed of the small Merry-Go-Round.

In 2022, Choe U-Ram was selected as the artist for the National Museum of Modern and Contemporary Art's Hyundai Motor Series exhibition. Reflecting on the deepening anxiety and polarization exacerbated by the COVID-19 pandemic, Choe captured the disoriented state of contemporary society. Centered around the theme of the ark, his work juxtaposes the conflicting desires that shape our era.

By incorporating advanced technology with everyday materials such as discarded cardboard boxes, straws, protective suit fabric, and car parts, Choe expressed a sense of hope for balance and harmony in life.

His monumental 12-meter-long kinetic installation Little Ark (2022) symbolizes an ark constructed from heavy iron and discarded cardboard boxes, brought to life with cutting-edge technology. The 35 pairs of oars that form the ship's structure stand still, like walls of exclusion, before they unfold like wings and begin a grand, synchronized dance. Atop this structure sit two captains, backs against a lighthouse model, pointing in completely opposite directions.

Through this symbolic ark, Choe invites reflection on what we are truly navigating towards and where the end of our desires might lie.

In Choe U-Ram's kinetic installation Round Table (2022), 18 headless straw bodies support a round table on their backs, while a single round head rolls erratically on top. This work serves as a metaphor for modern human society.

Choe believes that balancing the individual and the collective is one of humanity's greatest challenges. In society, some strive to become leaders, while others avoid leadership roles. Through Round Table, Choe reflects the fierce competition to claim leadership, as well as the inescapable struggle for those who do not desire such positions, highlighting the complex dynamics of society.

Choe's focus on human desires as reflected in technological advancement and evolution has evolved over the past 30 years, expanding to encompass social, philosophical, and religious contexts. His exploration of anima-machines and their environments prompts us to reflect on society and ourselves.

“I regard humans and machines are a single entity. I believe that machines and technology are the embodiments of our thoughts, imaginations, and desires.”
(Artist Interview, “MMCA Hyundai Motor Series 2022: Choe U-Ram – Little Ark”)

Choe U-Ram graduated from the Department of Sculpture at Chung-Ang University and obtained a master’s degree in Sculpture from the same university’s graduate school. Following his first solo exhibition in 1998, Choe became the first Korean artist to hold a solo exhibition at the Mori Art Museum in 2006. He has held numerous solo exhibitions around the globe including Korea, the United States, Turkey, and Taiwan. In 2022, he was selected as the exhibiting artist for the MMCA Hyundai Motor Series and held his solo exhibition at the National Museum of Modern and Contemporary Art, Korea (MMCA).

Since 1997 he participated in various group exhibitions at the 2nd Gwangju Biennale, Seoul Museum of Art, Busan Museum of Art, Kumho Museum of Art, Manchester Art Gallery, Amorepacific Museum of Art, Leeum Museum of Art, MMCA, and so on.

He has received the 1st POSCO Steel Art Award Grand Prize and Today's Young Artist Award for Fine Arts Sector in 2006, the Kim Se-Choong Sculpture Award for Young Artist in 2009 and was a Signature Art Prize Finalist in 2014. He was selected to participate in the Doosan Residency New York in 2009 and Autodesk Artists in Residence Program in 2014.

References

• 최우람, Cheo U-Ram (Artist Website)
• 국립현대미술관, MMCA 현대차 시리즈 2022: 최우람 – 작은 방주 (National Museum of Modern and Contemporary Art Korea (MMCA), MMCA Hyundai Motor Series 2022: Choe U-Ram – Little Ark)
• 국립현대미술관, 항로를 재설정하시겠습니까? “MMCA 현대차 시리즈 2022: 최우람 – 작은 방주”, 2022.09.14
• 더 아트로, 최우람 (The Artro, Choe U-Ram)
• 코리안 아티스트 프로젝트, 최우람 (Korean Artist Project, Choe U-Ram)