Choe U-Ram: Odyssey
Yuz Museum, Panlong Xintiandi, Shanghai
November 15th, 2025 – March 1st, 2026
From November 15th, 2025 to March 1st, 2026, Yuz Museum is honored to present “Odyssey,” the first solo exhibition in China by Korean artist Choe U-Ram. This also marks his first exhibition at a major institution since his solo exhibition at the National Museum of Modern and Contemporary Art, Korea in 2022. Choe previously participated in the inaugural group exhibitions in both 2014 and 2023 at Yuz Museum, showcasing his signature series of “Anima-Machine.” This exhibition will primarily present nearly 20 important representative works created by the artist in 2012 and 2022, encompassing installations, sculptures, paintings, and nearly 100 sketches and design drawings. Centered around his kinetic sculptures and mechanical aesthetics, the exhibition will illuminate Choe’s profound insights and poetic interpretations of mechanical civilization, human desire, and the essence of life.
Since the early 1990s, Choe has continuously presented works that metaphorically express human desire through mechanical life forms. He named these biomorphic mechanical sculptures Anima-Machines, inspired by the mimicry of the form, structure, function, and movement of real organisms. Through precise geometric shapes and ingenious relative positions and structural designs between components, Choe strings together thousands of independent parts into an interlocking sequence of movements, allowing these mechanical creatures to appear to swim, dance, or breathe, as if endowed with inner vitality. For Choe, making machines “move” as naturally as organisms is not only a breakthrough in artistic form but also akin to a ritual of creating life. He uses sophisticated mechanical engineering to replicate the rhythm of life, envisioning a future urban ecological landscape where humans and nonhumans could coexist. Through Anima-Machines, Choe explores the blurred boundaries between technology and life, contemplates the civilizational anxiety caused by the rapid development of technology and the complex relationship between human creation and desire, and furthermore, questions the essence of life, an ancient and fundamental proposition.
As he progressed, Choe gradually integrated mythological and historical narratives into his works. He titled his pieces in Latin, Sanskrit, and self-invented linguistic system, endowing each work with an independent storyline, thereby imbuing these creature-like forms with their own history and soul. Through the delicate depiction of their outlines, the artist attempts to trace the origins of the world and the universe, while progressively expanding his vision to broader themes such as social order, belief systems, the evolution of human civilization, and contemporary existential dilemmas. Beginning in 2012, Choe extensively employed symbols and metaphors in his work, alluding to social issues closely related to contemporary human life. For instance, in this exhibition, the self-devouring Ouroboros (2012) symbolizes endless greed; people’s pursuit of “value” is enshrined in the dazzling Pavilion (2012); while Round Table (2022) metaphorically represents social contradictions such as labor, competition, and the will to power. Through these works, Choe reveals the anxiety, fear, and unease hidden deep down inside, as well as the desires projected as a result.
In Choe’s art world, “human,” “desire,” and “machine” are inextricably intertwined: desire is the fundamental driving force that propels human creation, machines are the projection and creation of desire, and humans ultimately reflect upon themselves through machines. Growing up in the post-war era with collective fear of conflict and anxiety over resource scarcity, seven-year-old Choe U-Ram sketched on canvas a robot and a whale-shaped “ark,” fully loaded with energy sources and functional pipeline structures. This stemmed from his longing for a robot to save and protect his family. Completed in collaboration with his father, this oil painting could be regarded as a blueprint and the seed of what would later become the artist’s signature work, Little Ark (2022). It also foreshadows his subsequent core themes of exploring humanity’s journey, in which people overcome physical limits and endlessly expand their desires through the machines they create. In 2012, Choe transformed this human-protecting robot into a physical sculpture through 3D printing technology. A decade later, Little Ark, born during the global COVID-19 pandemic, further presented an allegorical narrative about technology, civilization, and the possibilities of salvation, evoking the image of an “inner ark” deep within each of us. It also forms the narrative core of this exhibition “Odyssey.”
Little Ark, more than 12 meters long and 6 meters high, features 35 pairs of mechanical oars attached to both sides of its hull, with the oars constructed from whitewashed discarded cardboard boxes. When the oars stand still, they resemble a cold wall, symbolizing obstruction and separation; as they rise and fall, they transform into surging waves, which heralds departure; and when all the oars unfold in coordination, alternating between inward and outward movements, a magnificent yet uncertain “dance of ark” unfolds with ambient sound effects, seemingly foreshadowing human collective voyage into an unknown destiny. As the oars gradually fall into disarray and come to a halt, the dance eventually settles into tranquility, awaiting the next departure.
It is worth mentioning that Choe utilized a large amount of everyday consumable materials such as old cardboard boxes and Tyvek protective fabric in his 2022 works. Combined with intricate mechanical components, these materials infuse cold machinery with a human touch and narratives, while also reflecting the ever-evolving relationship between humans and machines, desire and consumption, creativity and automated production, as well as the disasters and crises faced by society today.
The other works scattered around Little Ark further infuse this “Odyssey” with multiple interpretations and imaginations. Lighthouse (2022), which guides the way, also resembles watchful eyes; and when they meet the gaze of the audience, they compel us to question our own path and salvation. Two Captains (2022), sitting against the backdrop of the space telescope named James Webb (2022), turn their backs to each other, pointing in opposite directions, seemingly symbolizing the conflicting forces at play during the voyage. The telescope, a medium connecting the past and the future, allows us to look back at starlight from tens of millions of years ago, and even probe the most distant history of the universe, steering this voyage from the ocean to the cosmos, or to the unknown beyond. The broken Anchor (2022), the weary Angel (2022), the endless Exit (2022) and Infinite Space (2022) at both ends of Little Ark transform the “ark” from merely a symbol of salvation – providing shelter and sustaining life and civilization in times of disaster – into a metaphor of modernity full of contradictions and questions: Where are we? And where are we headed?
Choe has always viewed art as a practice of raising fundamental questions. He deeply understands that finding answers and solutions to these questions is destined to be a long “Odyssey.” Perhaps no one knows where this giant ship, carrying human desires and social aspirations, will ultimately sail, but we can still try to dispel the fog, see the land beneath our feet, and envision our individual journeys and inner landscapes. Faced with this increasingly complex world, Choe U-Ram invites every viewer to bravely embark on this journey, to contemplate individual direction and a symbiotic future, and to compose an allegory of our times on humanity and machines, desire and redemption.
About the Artist
Portrait of Choe U-Ram
Photo by Hongsoon Park, courtesy of the Artist.
Choe U-Ram was born in 1970, Seoul, South Korea. He obtained his B.F.A. and M.F.A. degrees in Sculpture from Chung-Ang University. The artist currently lives and works in Seoul.
Choe’s work begins with a deep inquiry into mechanical civilization, human existence, and the essence of life. Since the early 1990s, he has been working on his ongoing signature series Anima-Machines, which combines mechanical structures with organic movement, to investigate the intersection of technology and life, creation and desire. The works present a virtual ecosystem of autonomous lifeforms, where sculptural art, engineering, and mythological narrative converge, encouraging reflection on the relationship between technological civilization and humanity. Based on the movement of intricate mechanical devices, his creations metaphorically reveal human instincts, the cycles of civilization, and the structure of social organisms, while illustrating a complex world in which technology, sensation, reality, and fiction intertwine. His works are recognized for proposing new ontological directions in contemporary sculptural practice.
Choe has held solo exhibitions at major institutions such as Odyssey, Yuz Museum, Shanghai (2025); MMCA Hyundai Motor Series 2022: Choe U-Ram – Little Ark, The National Museum of Modern and Contemporary Art, Seoul (2022); Stil laif, National Taiwan Museum of Fine Arts, Taichung (2017) and Daegu Art Museum, Daegu (2016); In Focus, Asia Society Museum, New York (2011); City Energy – MAM Project 004, Mori Art Museum, Tokyo (2006), and many more. He has participated in various group exhibitions and projects at major institutions, including Hood Museum of Art, Dartmouth; Yuz Museum; Singapore Art Museum; Le Tripostal, Lille; National Art Museum of China; Busan Museum of Art; The National Museum of Modern and Contemporary Art, Korea; LEEUM; Seoul Museum of Art; and etc. He has also been invited to participate in MMCA × CMOA Cheongju Project 2025; Sapporo International Art Festival 2024; Gangwon Triennale 2021; Asian Art Biennial 2018; The Wuzhen International Art Exhibition 2016; Liverpool Biennial 2008; Shanghai Biennale 2006; Gwangju Biennale 1997, and many more.
Exhibitions at Yuz Museum are organized in partnership with the Los Angeles County Museum of Art and Qatar Museums
Made Possible by Yuz Foundation
With the support of Ministry of Culture, Sports & Tourism of Korea, Korea Arts Management Service, and Korea Focus Support Program.
About Yuz Museum
Yuz Museum, officially opened in May 2014 in Shanghai, is a contemporary art museum founded by Mr. Budi Tek, a Chinese-Indonesian entrepreneur, philanthropist, and collector. As one of the first non-profit institutions along the West Bund Culture Corridor, the museum has been following its founder, Budi Tek’s philosophy of “collecting to share,” with the mission of “drawing the world’s attention to Shanghai” and “bringing art into people’s daily lives.” Committed to advancing the development of contemporary Chinese art, actively engaging in the field of art education, and promoting cultural dialogues between East and West as its own responsibility, and exploring to answer the question “It takes ten years to grow trees, a hundred years to grow people, then how many years to grow a life of art?” By doing so, it has successfully established a bi-directional parallel between “history” and “future” throughout all its exhibitions and developed a variety of public outreach programs. It introduces the Chinese public to contemporary art and the world to Shanghai and China through its exhibitions that span across China and the West.
Since its opening, Yuz Museum has been the home of many internationally acclaimed exhibitions such as the world’s largest Giacometti Retrospective, the “Rain Room,” the Asia premieres of Andy Warhol’s “Shadows,” KAWS’s “Where the End Starts,” “Charlie Chaplin: A Vision,” “Yoshitomo Nara,” “Watering the Desert: Contemporary Art from Qatar,” etc., which have had a great impact on domestic and international culture, art, education, and other fields.
Yuz Museum has been active in the world of art and has launched in-depth collaborations with many internationally renowned art museums. On October 31, 2019, Yuz Museum Shanghai entered into a landmark collaboration with the Los Angeles County Museum of Art and Qatar Museums to jointly develop and share exhibitions and programs across their institutions.
With its continual development, the museum has been looking into possibilities of further expansion and made its home in the core area of Shanghai Greater Hongqiao International Business District. On May 17, 2023, as the new venue of Yuz Museum at Panlong Tiandi was completed and opened to the public, the museum launched the 2nd phase of its strategic plan: YUZ FLOW. In the coming ten years, the museum will carry on with Mr. Budi Tek’s philosophy, further explore how to use “art to grow generations to come,” take “flow with Yuz, breathe with art” as its vision for the 2nd stage, and make a gradual layout shift from a “white box” to a “satellite network,” marking the start of the museum’s 2nd chapter with a brand-new model: “one main space + various encounters.”
In 2024, the Yuz Museum launched a children’s art education project – YUZ DOLAN, which has been planned and developed by our expert and innovation team for many years. “DOLAN” is derived from the Indonesian Javanese language, meaning “play,” and its opening will reshape the museum space into an “art playground” for the participants. Specifically tailored for children, this project is launching diverse content ecosystems including creative art courses, art museum education charity events, and artist’s workshops, which are deeply rooted within the Yuz Museum’s professional experience in art exhibitions, research collections, and public education. We are committed to creating an artistic paradise for children to grow happily, express themselves, and unleash their creativity.
For more information visit www.yuzmshanghai.org
About LACMA
Located on the Pacific Rim, LACMA is the largest art museum in the western United States, with a collection of more than 150,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the region’s rich cultural heritage and diverse population. LACMA’s spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.
For more information visit www.lacma.org
About Qatar Museums
Qatar Museums (QM), the nation’s preeminent institution for art and culture, provides authentic and inspiring cultural experiences through a growing network of museums, heritage sites, festivals, public art installations, and programmes. QM preserves and expands the nation’s cultural offerings, sharing art and culture from Qatar, the Middle East, North Africa, and South Asia (MENASA) region with the world and enriching the lives of citizens, residents, and visitors.
Under the patronage of His Highness the Amir, Sheikh Tamim bin Hamad Al Thani, and led by its Chairperson, Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, QM has made Qatar a vibrant centre for the arts, culture, and education in the Middle East and beyond. QM is integral to the goal of developing an innovative, diverse, and progressive nation, bringing people together to ignite new thinking, spark critical cultural conversations, and amplify the voices of Qatar’s people. Since its founding in 2005, QM has overseen the development of museums and festivals including the Museum of Islamic Art (MIA) and MIA Park, Mathaf: Arab Museum of Modern Art, the National Museum of Qatar (NMOQ), 3-2-1 Qatar Olympic and Sports Museum, QM Gallery Al Riwaq, QM Gallery Katara, the Tasweer Qatar Photo Festival, and Design Doha. Future projects include Dadu: Children’s Museum of Qatar, Art Mill Museum, Qatar Auto Museum and the Lusail Museum.
Through its newly created Creative Hub, QM also initiates and supports projects – such as the Fire Station Artist in Residence, the Tasweer Qatar Photo Festival, M7, the creative hub for innovation, fashion and design, and Liwan Design Studios and Labs – that nurture artistic talent and create opportunities to build a strong and sustainable cultural infrastructure.
Animating everything that Qatar Museums does is an authentic connection to Qatar and its heritage, a steadfast commitment to inclusivity and accessibility, and a belief in creating value through invention. For more information visit https://qm.org.qa
