The exhibition “Hand in Hand into Havoc” draws together elements and works related to “Lykke Til,” the artist’s recently completed narrative short film, which examines life’s unforeseen challenges through the eyes of a Hong Kongese migrant living in Norway.

At the center of the exhibition, a music video excerpted from a key moment in the film, loops on a monitor (Live Show of “Our Story with Hemorrhoid,” 2024). In it a singer—a standin for Ann, the protagonist—sings of personal suffering and trauma turned into a collective, shared experience through her family’s treatment and removal of hemorrhoids. Disconnected from the film, the dreamlike and psychedelic visual and auditory styling of this scene is amplified, inviting audiences to engage intimately with the complexities of identity and belonging in a foreign land.


Nearby, a wall-based work made of pulverised crystal resembling a screen depicts an empty set from the film’s script. (Hand in Hand into Havoc, 2024). Together with the fact that the film itself is not shown beyond a short excerpt this offers deeper insights into the protagonist’s experiences and the thematic currents of the exhibition.





At the other end of the gallery a series of digital prints on porcelain tiles inspired by Hong Kongese memorial placards (瓷像) — ceramic tiles with portraits of the departed left at graves by loved ones of the deceased, showcases key visual elements from the production of “Lykke Til” underscoring the artist’s interest in the potential for filmmaking to build intimate relationships and collective practices and the importance of the cast and crew behind the scenes. These artworks, which capture moments of intense personal and cultural reflection, present a unique blend of cinematic aesthetics with visual art practices. The materials selected to hold this photography—porcelain tiles and porcelain crystal—are deeply rooted in familial traditions from the artist’s hometown. These materials are traditionally used to preserve images from life’s most cherished family occasions, echoing the personal and cultural narratives explored in the exhibition.

The final element in the exhibition, an untitled prop from the music video that resembles a hemorrhoid appears in lonely isolation on a wall opposite the monitor.

Not presented in the exhibition, the film “Lykke Til,” centers on 26-year-old Ann who confronts a cascade of personal crisis while living in Oslo, Norway. Living with her partner Dag in a crumbling apartment, their relationship teeters on the brink as winter brings an unexpected pregnancy and familial tensions to the fore. This story, rich in cultural contrasts and existential dilemmas, underscores the exhibition’s exploration of human emotion and the quest for a place to call home. While presented with the stark loneliness and reality of being a foreigner Ann wrestles simultanteously with complex decision making related to unhealthy relationships reproduction, family planning and medical intervention.