Minkyung So Fold Your Dogma with Footnotes Poster
Poster, 2020
Minkyung So Fold Your Dogma with Footnotes Poster
Poster, 2020
Yes/No/Like/Dislike/Love/Hate/Reply/Share: 2000–2020 The Portrait of Korean Pop Culture Banner
Signage, 2020
Yes/No/Like/Dislike/Love/Hate/Reply/Share: 2000–2020 The Portrait of Korean Pop Culture Banner
Signage, 2020
Shin Shin Cham Cham Cham Mini No.0–6
Small Graphic, 2020
Shin Shin Cham Cham Cham Mini No.0–6
Small Graphic, 2020
Junyoung Park What is This Thing of Whiteness
Poster, 2020
Junyoung Park What is This Thing of Whiteness
Poster, 2020
Hansaem Kim Dragon’s FFire Poster
Poster, 2020
Hansaem Kim Dragon’s FFire Poster
Poster, 2020
Suki Seokyeong Kang face Sweat Shirt
Stuff, 2020
Suki Seokyeong Kang face Sweat Shirt
Stuff, 2020
Const Business Card
Small Graphic, 2020
Const Business Card
Small Graphic, 2020
Const Logotype
Identity, 2020
Const Logotype
Identity, 2020
Shin Shin Cham Cham Cham No.1–6
Poster, 2020
Shin Shin Cham Cham Cham No.1–6
Poster, 2020
Collage, size 1,188 × 840 mm, mixed media. Photo by Popcon
Shin Shin Cham Cham Cham
Exhibition, 2020
Shin Shin Cham Cham Cham
Exhibition, 2020
Photo by Popcon
Eugene Jung Pirated Future + Doomsday Garden Poster
Poster, 2019
Eugene Jung Pirated Future + Doomsday Garden Poster
Poster, 2019
Hyejin Jo Shape, From the Side Reading Documents Poster
Poster, 2019
Hyejin Jo Shape, From the Side Reading Documents Poster
Poster, 2019
MUMU Sticker
Small Graphic, 2019
MUMU Sticker
Small Graphic, 2019

MUMU is modular—each part functions differently, expanding and shifting. The graphic identity of MUMU utilizes modules as applied throughout the exhibition. Named after the extraterrestrial life form from Gashoi’s novel, Pleasure to Meet You, mumu asks the conditions for living as a human being by shapeshifting itself for anthropomorphosis. The graphic modularity of the exhibition MUMU similarly changes in response to and emulates the characteristics or size of its desired medium.

The Korean display typeface used for MUMU is Taihun Kim’s ‘Pyeonggyun,’ based both on the principles of brush stroke calligraphy, as well as on standardized Myeongjo fonts; its unique shape is determined by maximizing the contrast of strokes, substituting them with new, adaptable data. The typeface used for the Roman alphabet is ‘Druk’ Condensed, whose extreme compressed quality allows the two letters of ‘MU’ to fit neatly within a square form. 

Utilizing its hyper sensitivity, MUMU turns on and off pro re nata; the title, composed of black and white boxes, follows a repeated sequence.

MUMU Invitation
Small Graphic, 2019
MUMU Invitation
Small Graphic, 2019

MUMU is modular—each part functions differently, expanding and shifting. The graphic identity of MUMU utilizes modules as applied throughout the exhibition. Named after the extraterrestrial life form from Gashoi’s novel, Pleasure to Meet You, mumu asks the conditions for living as a human being by shapeshifting itself for anthropomorphosis. The graphic modularity of the exhibition MUMU similarly changes in response to and emulates the characteristics or size of its desired medium.

The Korean display typeface used for MUMU is Taihun Kim’s ‘Pyeonggyun,’ based both on the principles of brush stroke calligraphy, as well as on standardized Myeongjo fonts; its unique shape is determined by maximizing the contrast of strokes, substituting them with new, adaptable data. The typeface used for the Roman alphabet is ‘Druk’ Condensed, whose extreme compressed quality allows the two letters of ‘MU’ to fit neatly within a square form. 

Utilizing its hyper sensitivity, MUMU turns on and off pro re nata; the title, composed of black and white boxes, follows a repeated sequence.

MUMU Poster
Poster, 2019
MUMU Poster
Poster, 2019

MUMU is modular—each part functions differently, expanding and shifting. The graphic identity of MUMU utilizes modules as applied throughout the exhibition. Named after the extraterrestrial life form from Gashoi’s novel, Pleasure to Meet You, mumu asks the conditions for living as a human being by shapeshifting itself for anthropomorphosis. The graphic modularity of the exhibition MUMU similarly changes in response to and emulates the characteristics or size of its desired medium.

The Korean display typeface used for MUMU is Taihun Kim’s ‘Pyeonggyun,’ based both on the principles of brush stroke calligraphy, as well as on standardized Myeongjo fonts; its unique shape is determined by maximizing the contrast of strokes, substituting them with new, adaptable data. The typeface used for the Roman alphabet is ‘Druk’ Condensed, whose extreme compressed quality allows the two letters of ‘MU’ to fit neatly within a square form. 

Utilizing its hyper sensitivity, MUMU turns on and off pro re nata; the title, composed of black and white boxes, follows a repeated sequence.

Jackson Hong Killer Move Catalogue
Book, 2019
Jackson Hong Killer Move Catalogue
Book, 2019
Jackson Hong Killer Move T-shirts
Stuff, 2019
Jackson Hong Killer Move T-shirts
Stuff, 2019
Media Ecology | Revisiting TV Garden Leaflet
Small Graphic, 2019
Media Ecology | Revisiting TV Garden Leaflet
Small Graphic, 2019
Media Ecology | Revisiting TV Garden Poster
Poster, 2019
Media Ecology | Revisiting TV Garden Poster
Poster, 2019