At the Espace Louis Vuitton, the contemporary Korean artists question the permanence of forms.
The theme of metamorphosis is a favorite theme of Art, 10 times, 100 times Treaty painting (see on a topic, the grotesque ), and especially the cinema (which it renders its dynamic aspect, for example in Cronenberg's The Fly: the metamorphosis is a process, the monstrous state). This fascination with metamorphosis in art is natural: it is obviously a great opportunity to address the question of forms and materials, their consistency and their mutations. Metamorphosis and kingdoms of nature
Beware, however: the metamorphosis is not a simple transformation. Metamorphosis, in Ovid, Kafka, in the Golden Ass of Apuleius, is first a way to examine the organization of nature, the boundaries between the categories of forms, and what happens when you mix them. The boundaries between animal, vegetable, mineral, become unstable, gods in human shape change into animals, flowers, rocks dredged for Zeus takes the form of a bull, a shower of gold, a swan. In metamorphosis, it is not just about "change form", but to question and clarify the boundaries between levels, isolate objects limits, inter-kingdoms, taxonomic incongruities, of operate back and forth between classes frozen existence. The recent exhibition Arcimboldo at Luxembourg had already helped to address these formal collusion.
This is the sort of back and forth between different registers of reality that is at issue here. By juxtaposing images of the same place but from a variety of eras and sources, Yong Seok Oh creates striking effects of telescoping. On the surface of a screen, a country landscape is reconstructed from a mosaic of photos taken at this point to dozens of years apart: young people standing on the grass in 1960 and hold an umbrella could almost turn around to talk with others sitting not very far, but much later. This device millefeuilles (photo cons) responds directly to the aesthetics of the web, consists of dozens of independent modules and shows what can digital art. This aesthetic to the Minority Report continues the work of questioning the classic distinction between the arts of time and spatial arts since Lessing: owing a meta-metamorphosis, the arts also interpenetrate . Similarly Hyunkoo Lee, with his mini gallery of natural history of animal skeletons cartoon (Goofy, Bugs Bunny) has interference between levels of fiction and reality, the science of fossils and comics. collusion rather than introspection
The work that opens the exhibition is, paradoxically, the highlight of the visit. Probably because it imposes a real presence aesthetics, while others are more oriented conceptual aspect of metamorphosis (culminating The art of transforming Beo Kim). Translated with vases, artist Sookyung Yee gets broken pieces of porcelain vases and re-create agency for almost organic forms, that looks like soap bubbles, clusters of cells or cells. Some groups suggest the algae of the southern seas which we can not say whether they are stemmed plants or animals wrong. Metamorphosis is an operation that puts at risk the well too many standardized layouts. 
See also the fascinating book by Peter S. Stevens, forms in nature , Threshold
If metamorphosis is a reflection on identity, as it says somewhere on cartels and in the brochure, it does not go through introspection in any "depth" of the soul and body (the skeletons of Bugs Bunny Hyun Koo Lee is also an ironic way to denounce the absurd illusion of interiority: there is nothing under the skin of the animated characters). On the contrary outside by direct confrontation with the allied forms that can help light the components of his own.
It was natural that a country like Korea, divided by an internal border that cuts it in two, this type of thinking leads with acuity and sensitivity.
Espace Louis Vuitton 60 rue de Bassano / 101 Avenue des Champs Elysees (take the elevator to get sensory, and suggest to the hostess to keep quiet). The view over the fields from the panoramic terrace is a must.
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