《手牽手走進浩劫》 是一個匯集 《祝君安好》 相關作品、影像、道具與片段的展覽。《祝君安好》 是藝術家近期完成的劇情短片，從一位在挪威生活的香港移民視角出發，描繪人在異地面對突如其來的生活危機。展覽並沒有完整播放電影，而是圍繞電影的邊緣展開：音樂錄像片段、幕後照片、瓷像、牆上作品與拍攝道具，共同保存電影之外的情感殘留。

Hand in Hand into Havoc is an exhibition that gathers works, images, props, and fragments related to Lykke Til, the artist’s narrative short film about a Hong Kong migrant living in Norway and facing a series of unexpected life crises. Rather than presenting the film in full, the exhibition unfolds around its margins: a music video excerpt, behind-the-scenes images, porcelain tiles, wall-based works, and props that carry the emotional residue of the film.

展覽的核心是 《冚家瀨野 Our Story with Hemorrhoids》 的現場演唱片段，這段音樂錄像取自 《祝君安好》 中一個重要時刻。當它被抽離出電影敘事後，場景中的夢幻、迷幻與聲音質感被放大。歌手作為主角 Ann 的替身，將個人的痛苦與家庭創傷轉化成一場可被共同經驗的表演，歌唱家人治療與切除痔瘡的故事。原本私密、尷尬的身體經驗，在這裡變成劇場化、集體化，甚至帶有慶典感的場景。

At the centre of the exhibition is Live Show of “Our Story with Hemorrhoid”, a music video excerpted from a key moment in Lykke Til. Detached from the narrative of the film, the scene becomes dreamlike, psychedelic, and intimate. A singer, standing in for the protagonist Ann, transforms personal suffering and family trauma into a shared performance, singing about the treatment and removal of hemorrhoids within her family. The private and embarrassing body becomes theatrical, collective, and strangely celebratory.



圍繞這個中心影像，展覽以不同物質痕跡延伸 《祝君安好》 的世界。一件以粉碎水晶製成、像螢幕般的牆上作品，描繪電影劇本中的空置場景；一系列受香港瓷像啟發的瓷磚作品，則保存拍攝幕後影像與電影中的關鍵視覺元素。這些瓷磚將電影製作中的瞬間轉化成紀念物，也呼應藝術家家鄉中以瓷材保存家庭照片、死亡記憶與重要人生時刻的傳統。

Around this central video, the exhibition extends the world of Lykke Til through material traces. A wall-based work made of pulverised crystal resembles a screen and depicts an empty set from the film’s script. Porcelain tile works, inspired by Hong Kongese memorial placards, preserve behind-the-scenes images and key visual elements from the production. These tiles turn moments from filmmaking into objects of remembrance, drawing on materials traditionally used to hold family images, mourning, and memory.



《手牽手走進浩劫》 思考電影製作如何在成片之外，建立親密關係與集體實踐。演員、劇組、道具、場景與製作影像，都成為一個更大的情感檔案。透過這些碎片，展覽觸及移民、疾病、家庭責任、酷兒親密關係、醫療介入，以及尋找安身之所的渴望。作品追問：當一部電影不以完整敘事呈現，而是透過成就它的身體、物件與關係被觀看時，電影還會留下什麼？

The exhibition reflects on how filmmaking can create intimate relationships and collective practices beyond the final film itself. Cast, crew, props, sets, and production images become part of a wider emotional archive. Through these fragments, Hand in Hand into Havoc explores migration, illness, family responsibility, queer intimacy, medical intervention, and the search for a place to call home. The exhibition asks what remains when a film is not shown as a whole, but is instead approached through the bodies, objects, and relationships that made it possible.