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 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 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.