Crossing the Line: Our Bodies,
Embedded with Others
Exhibition Catalog Design
국립아시아문화전당
ACC
2025, 135*216mm,
524p, 양장제본
The exhibition catalog was designed with minimal decorative elements, using a simple and refined layout for comfortable reading. Subtle changes in letter and line spacing mark the artists’ writings, while different paper stocks add variations in texture according to each section. The cover was produced as a pink fabric-bound hardcover with yellow foil stamping and yellow cord binding, focusing on the physical and tactile qualities of the book.
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장용근의 폴더: 가장자리의 기록
DArtist 2025
JANG Yonggeun, Peripheral Vision
한 스푼 남겨놓다
Leaving a Measure
Exhibition Anthology Design
대구미술관
Daegu Art Museum
2025, 195*290mm,
84p, 고무줄 바인더
This is a booklet created for the exhibition DArtist 2025: JANG Yonggeun, Peripheral Vision at the Daegu Art Museum. Instead of using typical binding after printing, it was loosely bound with a rubber-band binder.
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Brad Evan Taylor
Exhibition Catalog Design
달서아트센터
DSAC
2024, 190*257mm,
148p, 노출사철제본
Brad Evan Taylor is an artist who explores the process of clay shrinking and expanding in the kiln before hardening at high temperatures. The catalogue reflects this contrast in materiality: the front and back covers use coarse-textured paper combined with silk printing to highlight duality. The artist’s note is printed on very thin paper, echoing clay’s transformation into ceramic. The works were exhibited across two spaces, and each space’s images are distinguished with subtly different papers. Between these sections, the work list is placed at the center of the book, printed on paper reminiscent of hay—often used in the artist’s works—with inverted black ink, serving as a visual turning point and the structural axis of contrast within the catalogue.
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Reconstructing Sequences
Exhibition Catalog Design
국립아시아문화전당
ACC
2024, 225*300*19.5mm,
352p, PUR, 오타바인딩
The catalogue was produced in a large format to reflect the scale of the exhibition and works, using matte paper with a faded texture to emphasize the traces of time and materiality. The front and back endpapers faintly depict the past and present landscapes of the former Jeonnam Provincial Office and the ACC, enclosed by a construction fence, visually expressing the temporal and spatial intersection of past and present. The pages showing installation views are arranged with a wayfinding concept to highlight the connections between works, while colored paper is inserted at the introduction of the artist’s work pages to metaphorically suggest connection and reconstruction.
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Jayi Kim
Artist’s Catalogue
김자이
Jayi Kim
2024, 170*245mm, 100p
This monograph, capturing Jay Kim past ten years of work, centers on the theme of “nature and rest,” with an emphasis on conveying the idea of rest in a gentle and unburdened way. The cover, inspired by the participatory project Rest Exchange Project, incorporates actual seeds, while the interior metaphorically reflects the artist’s process of expanding from “rest” toward ecological thinking. Variations in paper texture and color visualize the passage of time and transformation, with an effort made to use eco-friendly materials. The work images and the artist’s notes follow independent yet organically intertwined flows, allowing readers to naturally follow the rhythm and experience the book in their own pace.
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Listening for the Voice of “TEUM”
Exhibition Catalog Design
국립아시아문화전당
ACC
2023, 150*225mm, 228p, PUR
The exhibition catalog was designed to visually express the symbolism of the “gap” by wrapping it in thin white kraft paper(50g). The cover typography is subtly embedded within the texture, evoking the impression of peeking into a gap. The artist notes also employ the same paper and spot-color printing, recalling the fleeting passage of a narrow opening. For each artist’s section, different varieties of textured Lesseig paper were used to evoke the tactile qualities of fabric and architectural board. Through this selection of papers, the catalog is intended to transform the act of engaging with the exhibition into an indirect, tactile experience on the printed page.
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ACC Film & Video
아시아의 장치들
Asia, The Apparatus
Exhibition Design
국립아시아문화전당
ACC
2026.3.19-9.27
“관객은 스크린 사이를 걸으며 자신만의 경로를 만들고, 그 과정 속에서 서로 다른 아시아와 조우한다.” ― 「스크린 사이를 걷는다는 것」 박예원(국립아시아문화전당 학예연구사) 글 발췌.
바닥 그래픽과 행잉 그래픽을 비롯한 여러 매체에 전시의 연대기와 작품 정보를 담았다. 공간의 구조와 동선을 따라 정보가 이어지도록 구성하면서 작품과 스크린 사이를 이동하는 관람 경험 속에 그래픽이 자연스럽게 놓이도록 했다.
The Film and Video exhibition Devices of Asia at the National Asian Culture Center (ACC) explores how moving images—film and video—reshape histories and collective memory through processes of creation, documentation, representation, and rewriting. Drawing on the experimental films and video art that ACC has researched and collected, the exhibition revisits the memories and collective narratives shaped by Asia’s diverse identities and histories within a shared space.
“Visitors walk between screens, creating their own paths and encountering different Asias along the way.” — Excerpt from Walking Between Screens by Park Yewon, Curator at the National Asian Culture Center.
Chronologies and artwork information were presented across various media, including floor graphics and hanging graphics. Following the spatial structure and visitor flow, the graphic elements were designed to connect information throughout the exhibition and integrate naturally into the viewing experience as visitors moved between artworks and screens.
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Gwon Osang
Hybrid Abstract Scene
Exhibition Design
대구신세계갤러리
Shinsegae Gallery Daegu
2026.9.11-11.8
The exhibition’s visual identity was developed around the vivid colors and sculptural forms of Kwon Osang’s mixed-media sculptures. Typography and image placement were used to convey the sculptural qualities of the works and a sense of space.
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Winner of the 21st Chang Dookun
Art Award, Ahn Hyo Chan
친근하면서도, 낯선
Familiar Yet Strange
Exhibition Design
포항시립미술관
Poma Museum
2026.6.4-9.6
Visually interpreting his approach of transforming familiar urban landscapes into unfamiliar scenes, we developed the graphic structure and imagery to connect the exhibition space as a single, cohesive diorama.
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Lemon Music Festival in Dalseo
Festival Design
달서아트센터
DSAC
2026.5.9-5.10
The contrast between lemon yellow and vivid blue, along with bold typography, creates a bright and lively mood. The blue in the main graphic was printed using a spot color. Various applications were designed for the festival.
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장용근의 폴더: 가장자리의 기록
DArtist 2025
JANG Yonggeun, Peripheral Vision
Exhibition Design
대구미술관
Daegu Art Museum
2025.7.15-10.12
The edges of the artist’s gaze are rendered through the fluid movement of letters. Shifting between expansion and contraction, this gaze embodies both fluidity and layered meaning.
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Where Words Fade
Exhibition Design
리버 아트 갤러리(대만)
River Art Gallery(Taiwan)
2025.5.11-7.5
In the artist’s work, the recurring motif of the dot (the circle) is a key formal language that visualizes process. The artist arranges dots as if assigning rhythm, intonation, and melody to each word in a conversation. This deconstructs the structure of language and visually reconstructs the rhythm of emotion, functioning as a harmonized rhythm in which emotional waves are given form. — from the artist’s statement
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Crossing the Line: Our Bodies,
Embedded with Others
Exhibition Design
국립아시아문화전당
ACC
2025.4.17-6.29
In 2025, National Asia Culture Center (ACC) celebrated its 10th anniversary with the thematic exhibition Crossing the Line: Our Bodies, Embedded with Others, dedicated to enhancing accessibility. This barrier-free exhibition was designed to improve access to cultural and artistic creation and enjoyment for people with disabilities, while also seeking to expand the concept of “barrier-free” beyond assistive tools or devices into a broader, interdisciplinary content genre. (…) More than an initiative to improve accessibility for people with disabilities, this exhibition can be seen as an artistic experiment and proposal to create a shared sensory space that welcomes others and dissolves the boundaries of perception, reminding us that all human beings are relational in nature. — Excerpt from Crossing the Line: Our Bodies, Embedded with Others (2025), “Curatorial Statement,” by Park Ye-won, Curator, National Asian Culture Center
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Reconstructing Sequences
Exhibition Design
국립아시아문화전당
ACC
2024.10.15-11.24
Reconstructing Sequences is an outdoor exhibition that focuses on the locality and historical context of Gwangju, where the National Asian Culture Center(ACC) is situated. It reinterprets the transformations from Gwangju Eupseong Fortress, through the Jeonnam Provincial Office, to today’s ACC under the theme of “memories and events accumulated in a place.” The exhibition poster symbolically expresses the motifs of “site,” “memory,” and “event” by using construction debris from the Jeonnam Provincial Office as its main graphic element. Concrete fragments collected during the demolition process were photographed, reprocessed, and placed prominently on the poster, beneath which a faint depiction of the current landscape—enclosed by temporary construction fences—can be seen. Printed in overlapping layers using the silkscreen technique, the poster indirectly reveals the memories and events accumulated within the site.
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World Orchestra Festival 2024
Concert Promotion Design
대구콘서트하우스
Daegu Concert House
2024
The letter W was stylized into a geometric form and applied across promotional materials for multiple series. The focus was on conveying a large amount of information intuitively, using minimal color and establishing a finely detailed hierarchy.
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Listening for the Voice of “TEUM”
Exhibition Design
국립아시아문화전당
ACC
2023.09-12.31
The ACC carried out an open call under the theme of “teum” in February 2023, through which artists Eunjune Lee and Jiwon Yu were selected to be featured in the exhibition.
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