Im Jibin South Korean, b. 1984

Im Jibin is known for his trademark 'Bear' motif, a toy-like, schematic figure which can be reproduced in a multitude of colors and surface finishes, as if it were a commercial, branded product. There are a variety of iterations at various scales: some are simply heads, some whole and some free-standing. Most are designed to hang on a wall and are carefully arranged in regimented groups reminiscent of the enticing displays of the retail world.

The artist often speaks of consumer capitalism and its promotion of 'insatiable appetite'. His practice evokes related ideas of production, promotion and acquisition. The seductive nature of his sculptures and the arrangements of his exhibitions and installations conjure up scenarios of material desire. Satisfaction appears to be guaranteed until the next version of the bear is released - a sensation which is familiar to all in the hyper-commercialized, developed world. This artist makes clear that the art market is, apart from its cultural concerns, very much a market, subject to all the familiar wants and perceived needs of its participants.

Im Jibin is known for his trademark ‘Bear’ motif, a toy-like, schematic figure which can be reproduced in a multitude of colors and surface finishes, as if it were a commercial, branded product. There are a variety of iterations at various scales: some are simply heads, some whole and some free-standing. Most are designed to hang on a wall and are carefully arranged in regimented groups reminiscent of the enticing displays of the retail world.

The artist often speaks of consumer capitalism and its promotion of ‘insatiable appetite’. His practice evokes related ideas of production, promotion and acquisition. The seductive nature of his sculptures and the arrangements of his exhibitions and installations conjure up scenarios of material desire. Satisfaction appears to be guaranteed until the next version of the bear is released - a sensation which is familiar to all in the hyper-commercialized, developed world. This artist makes clear that the art market is, apart from its cultural concerns, very much a market, subject to all the familiar wants and perceived needs of its participants.