Q1 Simple question. Guhong in Korean pronounciation is more like kuhon? Or, Gu like Good? (I want to confirm if I should write your name as グホン or クホン.)
Simple answer: Guhong, not Guhon. My name is written in Chinese characters as 閔求泓, which evokes the image of someone with a compassionate heart and insatiable curiosity, whose thoughts flow deeply and calmly, like clear, expansive waters. In Korean pronunciation, it’s closer to Guhong, not Kuhon. So, you can write my name as グホン.
Q2 What was the reason behind you going to SFPC? Specific person to work with? Or specific program? Or tired of job? And, what was the takeaway?
Just before attending the School for Poetic Computation (SFPC), I worked as an editor and designer at Ahn Graphics for about 6 years. I created numerous books on art and design without taking any real breaks, and I realized I needed a rest. During that time, I came across SFPC by chance. What stood out to me most was the name itself, which included “poetic” and “computation”—almost as if summarizing my interests. I thought it would fit perfectly with my academic background. SFPC was even stranger than I had imagined. There, I met talented friends from around the world, and from them, I learned not just technical skills but also how to approach and engage with technology. As a bonus, I now have an affordable place to stay whenever I visit New York. Later, I found out that the acceptance rate was quite low, but to be honest, I’m still not sure how I got in.
Q3 What did you do in workroom? Editor? Or a designer?
Both—and also as a programmer. I initially joined Workroom as an editor because they needed more editors. Interestingly, my first task was to create their website—simply because I had the necessary skills. My second task was translating “Forget all the rules you ever learned about graphic design. Including the ones in this book.” into Korean, which I also felt confident doing. I even developed a Google Chrome extension for Workroom. After that, my role expanded—thanks to Workroom’s remarkable culture of not limiting the roles of its members. Of course, I also created quite a few books on art and design. So, I usually describe my work at Workroom as that of an editor, a designer, and a programmer.
Q4 Was AG Lab made for you? Or ,did you propose that? And only you are working there?
I worked at Workroom for about 7 years. Just when the work started to feel monotonous, I received an offer from Ahn Graphics to work together again. The face of Ahn Sang-soo, who first led me into the world of design, came to mind. That’s when I proposed the idea for Ahn Graphics Lab (in short, AG Lab). On February 22, 2022, AG Lab officially opened. AG Lab is an independent, almost enigmatic division within Ahn Graphics. As the director, I experiment with ways of handling content across both online and offline platforms. Our clients include Samsung, Hyundai Card, Korean Air, Jeju Air, National Museum of Modern and Contemporary Art, Seoul Mediacity Biennale, Ilmin Museum of Art, and so on. Interestingly, I was born in 1985, and Ahn Graphics was founded in the same year. Growing older alongside a company that shares my birth year is something difficult to describe.
Q5 Is it unique to parasite in a company? And, is it allowed to work at the lab for Min Guhong Manufacturing projects?
Sure. A four-day work week, a private office only for my use, and Min Guhong Manufacturing (in short, Min Guhong Mfg.) parasitizing within AG Lab were all part of the agreed terms. Since 2015, I’ve been running Min Guhong Mfg. Although it parasitizes within my workplace, I learned during my time at Ahn Graphics and Workroom that mutual growth between the parasite and the host is possible through coexistence.
Q6 How do Min Guhong Manufacturing get project offers? Do you only work for Art and Design project for Min Guhong Manufacturing?
Min Guhong Mfg. is not a graphic design studio. However, it constantly encounters the triangle formed by people, experience, and money. It does not pursue any one thing in particular, yet it rejects nothing, moving fluidly among these three points—changing shape in the process. Min Guhong Mfg. represents another model of working within today’s art and design field. This is possible because I have experienced the existing system for over 10 years.
Q7 Please let me know more about New Order and PIE.
Some people describe New Order as a small school or even a new religious movement. Both could be true, or both could be false. When we like something—and eventually come to love it—we naturally want to share that beautiful feeling with others. For me, New Order is one way to practice that. In New Order, participants spend 6 weeks exploring themselves, establishing and refining their decision-making criteria. At the same time, they build a website, reflecting on the web as an integral part of modern life and seeking ways to tailor it to their needs. Moreover, coding in New Order becomes both a practical and conceptual form of writing. I believe that modern individuals should experience creating their own website with a handmade web spirit. This is why New Order presents itself as a “liberal arts course for modern individuals.” It has already been 5 years since New Order began, and during that time, nearly 500 friends have passed through it. “After New Order” also sprouted from within New Order. PIE, a close friend of New Order, is a project space run by talented artists. It hosts classes, workshops, and events led by New Order and other artists almost daily.
Q8 Why did you decide to publish the Korean version of A New Program for Graphic Design?
This book covers the three layers that make up contemporary graphic design: typography, gestalt, and interface. I was recommended this book by my closest American friend and artist, Laurel Schwulst. I found it fascinating and thought it would resonate well with a Korean audience, so I proposed it to Workroom. They agreed, and the process began. Thanks to this book, my perspective on graphic design has been refined and expanded. I hope it does the same for those who teach and learn graphic design.
Q9 What is your typical working day like?
From Monday to Thursday, I go to the office around 10 a.m. and leave around 7 p.m. During that time, I simply focus on working hard—sometimes systematically, sometimes chaotically, like everyone else. On Fridays, I meet friends who love the web through New Order. On weekends, I immerse myself in composing and translating as a hobby.
Q10 Any routine to start working?
First, I write down what I need to do for the project and what I want to achieve. Then, I refine it carefully. Sometimes, this process results in detailed notes or even extends to the length of a short story, becoming a piece of work in itself. This is essentially a way to organize scattered thoughts and establish criteria for making countless decisions during the work process. It is also about creating constraints. Without constraints, nothing can begin properly. In that sense, for me, creation is no different from the act of creating constraints. After that, I let things flow naturally—either by utilizing the constraints or navigating around them.
Q11 Essential things when you work
The first is letters. The second is writing, reading, and copying. These are also things I learned while studying literature. Especially editing, which encompasses these three activities, is essential not only in design but in all kinds of work.
Q12 Any places to visit you want to refresh?
My home and my bed. Sleep, in particular, is as essential to me as life itself. Through sleep, I temporarily die and am reborn. I believe that tomorrow doesn’t begin in the morning but starts with the sleep I fully enjoy the night before.
Note: You can refer to KGI2_Interview_Answers_Sample_KR.pdf attached in the mail.
Profile:
Your name in Hangul and Latin: 민구홍 / Min Guhong
Year of Birth: 1985
University: Chung-Ang University (中央大學校)
City you grew up: Seoul, Cheongju
Gender: Male
Title: SeMA Coral
Year: 2021~
Type: Website / http://semacoral.org
Client: Seoul Museum of Art, SeMA
Description: An online webzine and research archive platform operated by the Seoul Museum of Art. Launched in 2021, it has been continuously updated ever since. The platform’s tagging system functions like coral reefs, connecting various materials and creating a vibrant network. This approach stands out as a rare example in the Korean art scene. The intuitive interface allows users to explore interconnected resources effortlessly, fostering deeper engagement with SeMA’s research initiatives. By bridging archival research and public engagement, SeMA Coral contributes to expanding the accessibility and visibility of contemporary Korean art.
Title: Publishing as Method
Year: 2020~
Type: Website / https://products.minguhongmfg.com/publishing-as-method
Client: Mediabus, Art Sonje Center
Description: As the exhibition title ‘Publishing as Method’ suggests, the website itself explores and experiments with publishing as a method in the online realm. Works placed on tables alongside posters, books, and coffee cups are not only part of the exhibition but also products of Min Guhong Manufacturing. The platform functions as an experimental space, challenging conventional notions of publishing by transforming static media into interactive, online experiences. Its user interface invites visitors to engage with the exhibited works in new ways, blurring the boundaries between consumption and creation. By combining physical artifacts with their digital counterparts, the project redefines publishing as a method of cultural production and critical discourse.
Title: AAA
Year: 2024
Type: Website / http://madeinaaa.com
Client: DooRooDooRoo Artist Company, Hyukoh, Sunset Rollercoaster
Description: A website created to introduce ‘AAA,’ the latest album by Korea’s iconic band Hyukoh. The website is divided into two distinct versions: the first version, released prior to the album launch, delivers updates in chronological order, while the second version archives these updates along with related merchandise. The dual-version structure enhances user engagement, transitioning seamlessly from anticipation-building to post-release exploration. With its sleek and minimalist design, the website reflects Hyukoh’s artistic identity while prioritizing intuitive navigation. This project marked the beginning of a collaborative ‘MOU of Love’ between Min Guhong Manufacturing and DooRooDooRoo Artist Company, demonstrating the power of creative partnerships in amplifying artistic impact.
Title: A New Program for Graphic Design
Year: 2024
Type: Website / http://a-new-program-for-graphic-design.kr
Client: Workroom Spector, Workroom Press
Description: A website dedicated to introducing the book of the same name. The book explores the three foundational layers of graphic design: typography, gestalt, and interface. In addition to providing basic information, the website features editorials and free educational guidelines, enhancing the book’s content. Much like the Korean edition of the book, which reuses the design of the original, this website is also a repurposed version of the website created for the original book. The website serves as both a companion and an extension of the book, offering additional insights and resources to deepen the reader’s engagement. As described by the author, David Reinfurt, “’the book and the website become one,” reflecting a seamless integration of print and digital media. The minimalist and functional design mirrors the pedagogical philosophy of the book, creating a cohesive and enriching experience.
Title: Like to Like
Year: 2024
Type: Web Application / https://products.minguhongmfg.com/like-to-like
Client: Design House, Gallery Jiwooheon
Description: A solitary heart icon sits against a stark black screen. In today’s world, we often find ourselves powerless before this charming little icon. This work reveals the obsession with ‘likes’ that defines the social media era. Visitors are permitted only one action: tapping or clicking the heart icon. No other functions are necessary—or even possible—because we are already devoted fans of the ‘like.’ This simple act, now ingrained in our daily lives, becomes an endless loop, mirrored by the ever-increasing numbers. The repetitive action, performed like a ritual, occasionally sparks a question: are we not ultimately ‘liking’ the act of ‘liking’ itself? The minimalist interface strips away distractions, leaving the heart icon as the sole point of interaction, emphasizing the raw dynamics of user engagement. By isolating the act of liking, the work critiques the commodification of human attention and the reduction of social interactions to quantifiable metrics. As visitors engage in the endless loop, they may experience a mix of amusement, frustration, and introspection, mirroring the emotional complexity of digital habits. This deceptively simple piece transforms a mundane action into a profound commentary on our collective digital culture.
Title: From A to N
Year: 2025 / https://products.minguhongmfg.com/from-a-to-n
Type: The screen is divided into four sections, each displaying one of the characters from ‘A’ (あ) to ‘N’ (ん) in hiragana and katakana. Every 0.25 seconds, a random character occupies each section, giving rise to new combinations. The rhythmic transitions create a visually captivating experience, evoking the organic evolution of linguistic forms. By stripping the characters of context, the work blurs the line between meaning and randomness, inviting viewers to reconsider the building blocks of language. This piece bridges the digital medium and the traditional Japanese writing system, showcasing the adaptability of linguistic symbols in contemporary contexts. Additionally, this web application serves as a gift for the second K-GRAPHIC INDEX, further celebrating the intersection of graphic design and digital art.