Mind and Body Works

M.B.W. Magazine is a magazine series by international graphic duo, Mind and Body Works. Jimin Ju currently based in Dublin, Ireland and Eunji Ryu in Seoul, South Korea, two graphic designers talk about their design in multiple languages; English, French, Japanese, and their first language-Korean. What culture has inspired your design style? What is a design style based on the country you were born in anyways? What is Seoul/Tokyo like? How did Seoul affect you? How does mind and body work when designing? Answering these interviews, those two designers focus on investigating themselves through graphic design.
Each pages are designed freely, and vivid so that one page looks like a final poster on their own.

This publication extracts and reconfigures one of the central themes from Desperate, Uncool, love, and the ways in which it is shaped by racism and imperialism. Desperate, Uncool: Love and Colonialism examines how racial and colonial structures inform personal relationships, written from the perspective of an Asian woman, specifically, from that of a Korean woman. While the original Desperate, Uncool was an experiment that illuminated the admired across various forms of discrimination, openly exposing the shame embedded within them, this re-edited version moves beyond simply revealing experiences of discrimination and admiration. Instead, it dives deeper into the subtle and often insidious social structures and value systems that surface within explicit moments of discrimination, unfolding them through intimate, personal narratives. In doing so, it transforms love—often considered the most subjective of emotions—into a structure, and ultimately attempts to decolonise it.

Musée des Trucs Qui m’ont Choqué(Museum of Things That Shocked Me) reflects on the fragility of digital-era cognition. Rather than presenting a linear narrative, the book invites the reader to observe a malfunctioning system of information processing — one shaped by noise, misreading, and replication.
By framing these conditions as an exhibition, the work transforms passive consumption into critical viewing, questioning how perception, meaning-making, and originality are altered within networked culture.