The exhibition ‘Where gestures sing,’ featuring artists in residence at the National Museum of Modern and Contemporary Art, Changdong, Korea in early 2024, moves away from dystopian or science fiction visions of the future. Instead, it focuses on fundamental gestures that transcend time and space, challenging human- and language-centered narratives. Reflecting this approach, the poster uses overlapping frames to capture the motion of a hand writing. Designed as a double-sided print.

In Yeo-jin Yoon’s exhibition ‘Outside and Outside,’ the artist examines the inherent limitations of each work and the tension between accepting and overcoming them. Positioned in a liminal state, the works retain their distinct qualities while exploring possibilities through mutual interaction across boundaries of inside and outside. The exhibition poster is conceived as a moving poster, integrating elements from past and new works, as if continuously extending outward beyond successive layers.

Although teeth are essential for speech, they have not to reveal themselves as physical entities in the process of word formation. The exhibition ‘Dental Critic’, which sounds similar to ‘Dental Clinic’, explores the negativity inherent in criticism and critical discourse. This poster reveals the exhibition’s meaning by repeating the same information in various ways or by juxtaposing words that are similar yet distinct.

The exhibition ‘Where gestures sing,’ featuring artists in residence at the National Museum of Modern and Contemporary Art, Changdong, Korea in early 2024, moves away from dystopian or science fiction visions of the future. Instead, it focuses on fundamental gestures that transcend time and space, challenging human- and language-centered narratives. Reflecting this approach, the poster uses overlapping frames to capture the motion of a hand writing. Designed as a double-sided print.

One of the issues made by Caisou collaborated with Yang Hyemin. Here is an introduction text from her. “Hello Stranger, you’ve practiced the greeting but can’t remember what to say next? You’ve known each other for a long time and feel like you will never be close? You feel like you should say something, but your hands are sweating? You suddenly find yourself confessing your scars to someone you’ve known for about 10 minutes?”

Poster a.k.a. exhibition information for the exhibition series curated by Gihong ‘Kiki’ Park and Sijia Yang on the behalf of Exlibris Book Festival team. Just as the significance of an exhibition space arises from the seemingly trivial details of passed by daily life, the information about the exhibition is printed on sheets of paper in various colors, scattered amongst the heavy files to divide matters or giving them a short pause. This work has been collaborated with Jonas Borinski.

This is the third poster and key visual for the ‘SYNTHESIZE’ concert series by the Korean band Silica Gel, created in ongoing collaboration with SUPERSALADSTUFF. Linked to an event that gathered listener feedback, the series explores synthesis between musicians and audiences as a form of connection. This idea is visualized through radiating lines extending from the centre, ‘Silica Gel,’ forming the basis of the design.

This poster was created for the exhibition ‘SECRET LOVE’ by Woonhae Yea, an artist based between the UK and South Korea. She collects discarded aluminium cans, cleans them, and regards them with renewed affection. Published alongside a catalogue with a metallic cover, the project reflects how the book itself becomes marked through use, embodying traces of wear while retaining a sense of care and love.

Poster for the symposium series speaks about decolonization into four different historical timelines. Designing the poster as a team of all different cultural and regional backgrounds of three designers naturally leads to understand the topic as layered knowledges and the decision was made to do screenprinting by themselves to associate with the inefficiency to improvise the time and energy to listen and support each other. This work has been collaborated with Yuting Chen and Jan Vincent Dufke.

This poster was created for ‘Gather & Groove,’ a cultural exchange event for international and Korean residents in Seoul. The venue, designed by a Korean architectural firm, currently serves as temporary accommodation for international visitors. The moving poster playfully portrays a gathering in the ground-floor lounge, where people share coffee, food, and conversations about their cultures.

In Eunji Choi’s solo exhibition ‘There is an error in the output value,’ the artist translates observed landscapes into geometric abstraction shaped by memory. Unlike reality, these recollections produce distortions, where some elements remain as afterimages and others dissolve into colour. Reflecting this, the poster repeats the exhibition title and organiser’s logo across the composition, while geometric stencil forms echo recurring motifs in the artist’s work.

Poster for the exhibition curated by Anne Meerphol at ICAT, Hamburg. From the title of the group exhibition, “Lappen und Schüssel,” occurs the debate upon the symbolic place of the kitchen. Invisible time of labour created from the space transformed into the visual materiality of lettering, from peeling the ingredients for cooking to the controversial return to the table. This work has been collaborated with Ryunah Kang.

Book design for the exhibition archive of the year 2024 at Frappant Galerie, Hamburg. The idea of publishing the documentations of past exhibitions becomes a reflection on time itself which has been faded away but persist through traces. The book conceived as a ‘time machine,’ evokes presence through specified rule of digit and dissolving afterimages. Typeface Autoscape LL designed by Minjong Kim has been used for capturing the time of the archived exhibitions on the book cover as contents page.

Caisou started to approach T-shirts as wearable zine and Gihong ‘Kiki’ Park wrote the texts for this issue. Here is an introduction text that he wrote for us. “I need to design a poster to be installed for the exhibition. I presupposed the size should be 59.4 × 84.1 cm. Would that be about the right size? What do you think? Am I too old-fashioned? Perhaps 10.5 × 14.8 cm would be perfect to create intimacy to everyone.”

Poster design for Diff n Poster 2025, an exhibition happens next to the Daegu Independent Short Film Festival (DIFF). Each poster representing one of the 39 films screening and this poster had been designed for “World Premiere,” directed by Kim Seonbeen. Fractions out of screen tries to capture the distance in a relationship where one tries to draw closer but can never quite reach the other at the end.

A logo and ticket set were designed to celebrate the 50th anniversary of the Korean Film Archive. Tickets featuring the numerals 5 and 0 were created for the Korean Film Museum and Cinematheque KOFA, respectively. The design draws on visual motifs from movie projectors and calibration target images used in filmmaking.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

Beginner YouTuber Jo A-young’s vlog, which attempted to capture her daily life, became the scene itself where she denounced the reality she wanted to deny. The ‘bell’, which symbolizes subscription and notification settings, is represented by ‘SOS’, which notifies a situation in which one’s personal life is threatened. We used visual elements of the YouTube environment, such as the player playback bar, which resembles a life bar in a video game, to signal potential danger.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to tracking commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

We designed the Catalogue for the exhibition “Digging Soundtracks: Music from Korean Films on LP, Cassette, and CD,” held by the Korean Film Archive from October 2, 2025, to January 31, 2026. In addition to track commentary, it includes a supplementary booklet featuring “My Personal Film Music Playlist” contributed by 15 figures from the cultural sector.

Poster design for Hara Shin’s solo exhibition curated by Jin Lee at TINC (This Is Not a Church), Seoul. It shows one of her journeys of researching about the colonial hegemony that prevails in the cyclical rhythms and she tries to experiment with the acquisition of plurality through physical traversal. Bilingual system of languages tries to devour each other by interrupting but ended up the shape of intertwined graphic figure which draws the circulation of narratives.

We designed the Key Visual Design for the International Symposium Commemorating the 20th Anniversary of Nam June Paik’s Passing, Paik After Paik, 2026
The typeface Camera used in the English title was developed by Berlin-based Dinamo. It is based on a reinterpretation of the light trap, a structural feature originally used in 1960s–70s television screens to improve legibility. Here, it functions as a device that metaphorically reflects the materiality of the media Paik engaged with.