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| Kinetic artist Choe U-ram poses in front of his latest mechanical installation, "Little Ark" (2022), on display at the National Museum of Modern and Contemporary Art, Korea in central Seoul for his solo exhibition, "MMCA Hyundai Motor Series 2022: Choe U-Ram ― Little Ark." Courtesy of MMCA |
Installations, drawings of mechanical aesthetics and movements offered at MMCA exhibition
By Park Han-sol
A little ark ― made of an intriguing mix of computer-controlled motors and discarded cardboard boxes which altogether reach over 12 meters in length ― has found a home in the basement of the National Museum of Modern and Contemporary Art, Korea (MMCA) in central Seoul.
As its 35 pairs of black-and-white mechanical oars gradually begin to rise and flap, soon dancing majestically to the ambient melody as if sailing on the open sea, it won't be long before viewers notice that something is not quite right.
In addition to the vessel's peculiar placement ― as it occupies a waterless gallery amid the urban landscape ― a series of articles on board will only lead to further questions.
Why is the lighthouse, whose role is to aid ships in navigating the coast from the shore, perched on top of the ark, surveilling the audience? Why are there two captains each pointing in the opposite direction?
Why is the figurehead at the prow, which is supposed to embody the tough spirit of the boat bracing for perilous sea journeys, depicted as a weary angel drooping in exhaustion? Why does the so-called "Exit" projected onto the wall repeatedly show different doors opening and closing without ever leading the ship anywhere?
This complex set of automated installations that represent a journey with seemingly no clear destination constitutes kinetic artist Choe U-ram's latest attempt to inquire about the direction humanity is headed toward as a whole.
"I wonder if there has ever been a time when humanity hasn't lost its sense of direction," the artist said during last week's press preview at the museum, as he introduced the centerpiece of his solo exhibition, aptly titled, "Little Ark."
"Throughout history, humans have always been imagining and searching for something better, never settling down in one place. And during this search, they inevitably clash with one another because of conflicting desires," he said.
In lieu of hastily seeking an immediate escape from whatever is currently plaguing the present era ― like the figures on his "Little Ark" ― Choe continued that humans should all critically reflect on themselves and collectively strive for a sustainable future as they journey together on Earth, which in itself is like a larger ark in space.
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| Choe U-ram's "Cakra Lamp" (2013) / Courtesy of MMCA |
As an architect of "mechanical organisms" or what he calls "anima-machines," the 52-year-old has, for nearly three decades, garnered attention with his inventive robotic sculptures. His kinetic sculptures marry lifelike movements achieved through computer-controlled motors with oddly convincing "birth stories" for each of his fictional creatures.
In other words, he has created fictitious fossils with metallic coils and machines that breathe, wriggle and writhe, while christening them with unique nomenclature in Latin and prehistoric or extraterrestrial "myths" that tell the backstory of each organism.
Some of his iconic pieces include "Opertus Lunula Umbra (Hidden Shadow of Moon)," a caterpillar-like mechanical organism that radiates light while slowly moving on its own, and "Ouroboros," a large, automated serpent eating its own tail.
These "creatures" have long served as the playground for the artist to portray different, invisible aspects of human desires; that is to say, if one particular feature of human desire could have new life breathed into it and be born as a fictitious organism, what would it look like and how would it move?
But in his latest exhibition for "MMCA Hyundai Motor Series 2022," Choe has steered away from his well-known mechanical creatures and has instead applied movements to objects like "Little Ark" and "Round Table" to explore a similar theme regarding the cyclical nature of human life, desire and existence.
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| Partial view of Choe U-ram's "Round Table" (2022) / Courtesy of MMCA |
"Round Table" consists of 18 headless straw mechanical figurines slouching underneath one large black table. On the tabletop, viewers see a single "head" rolling around. Whenever one of the straw figures lifts itself up from under the table in a hasty attempt to claim the head, the table becomes tilted, causing the ball only to roll further away and out of reach.
"It's a game of a no-win situation ― where no one can assert their claims on the single head," the artist said.
Yet, the figurines continue to engage in this never-ending, futile struggle ― reminiscent of humans consumed by their own relentless material cravings.
In a stark contrast to this meaningless skirmish on the ground, Choe's three gigantic "Black Birds" hover far above the table gracefully. Are they another group of competitors eyeing for the head? Or do they represent a class that is privileged enough to be able to distance themselves from such exhausting, materialistic competition? It's an open-ended book, up for any interpretation on the viewer's part.
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| Choe U-ram's "Drawing for the Design of 'One'" (2021-2022) / Courtesy of MMCA |
In addition to such riveting installations, Choe's show at the MMCA also boasts a series of 36 framed drawings that he produced while designing his kinetic architecture on view ― unveiled in a gallery setting for the first time ever.
"These technical drawings reflect every trace of Choe's thoughts in regards to the mechanical aesthetics and movements he has conceived and engineered," the exhibition's curator, Kim Kyung-ran, said. "It's like a map of life for the artist."
The exhibition also offers a peek into his older works of art that seem to carry new meanings as they are placed alongside his more recent oeuvre in the timely context of COVID-19 pandemic and climate change.
These include "Cakra Lamp" ― with "cakra" referring to "wheel" and energy points within one's body in Sanskrit ― consisting of two pieces that bloom like a luminous lotus flower and seem to radiate energy to the surroundings.
The "URC" series, which resembles gigantic stars gleaming in the night sky, are made up of a throng of headlights and taillights taken from cars scheduled to be scrapped after testing. He thus breathes a new creative life into the common symbols of capitalist culture and technology.
"Choe U-Ram ― Little Ark" runs through Feb. 26 next year.
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| Installation view of Choe U-ram's "URC" series (2014) at the National Museum of Modern and Contemporary Art, Korea in central Seoul / Courtesy of MMCA |
