《Dear (Anne)》展覽
《Dear (Anne)》延續 2021 年《Little Albert》對恐懼與創傷的探問，五年後，展覽的視角從被動的反射轉向主動的回應。展覽的靈感源起於19世紀末塞納河畔的一位「無名少女」（L'Inconnue de la Seine）。她死後平靜的面容，在半個世紀後轉化為全球急救訓練人偶「救難安妮」（Rescue Anne）的原型。這位在絕望中逝去的生命，卻在現代醫療體系中成為「拯救」的象徵。這份跨越生死的轉變，成為本次藝術創作的出發點：我們如何定義「幫助」？(Anne)提醒我們在面對他人的脆弱、傷口、等待與求助時，如何決定自己的位置。五位藝術家以各自的創作語言回應這個提問，從靈性庇護、身體記憶、時間的不可逆，到日常中的微光、跨文化的祈禱與凝視，構成一場關於「救助」的多重回聲。
展覽並不以單一視角理解「救助」，而是透過多樣化的藝術語言，引導觀眾在不同層次之間穿梭。從個人經驗出發，作品回望人在脆弱時刻的情感邊界，呈現「尋求援助」與「伸出援手」之間的微妙掙扎；同時，展覽亦觸及現代社會的支援系統，思考在制度化的流程中，資源與角色如何被重新分配，以及個體的主體性是否仍能被看見。影像與感官經驗則引導觀眾思考自己在緊急情境中的位置：不行動是否意味著抽離，而同理心又如何被情境、規範與習慣所形塑。另一方面，作品亦回應當代科技的快速發展，提出當「救助」被轉化為數據、模擬或機械化流程時，人類獨有的情感、判斷與存在價值將如何被重新理解。在這些層次之間，展覽呈現「救助」作為一種行動、一種取態，也是一種持續被重新定義的關係。
鄭思的作品聚焦於身體與時間，並以極度精準的視覺語言探討脆弱與韌性的並存。《After Cupid》以「傷口」為起點，探討同一個被擊中的瞬間如何可能導向靠近或退縮。她以樹脂塑造出鑽石般堅硬的傷痕，讓脆弱與堅硬同時存在，象徵受傷後生成的保護與力量。《Dialogue with the Moment》則以多屏影像拆解心肺復甦的節奏，按壓、呼吸、停頓。透過極慢速與時間錯位的 CPR 片段，呈現生命與死亡之間的懸浮狀態。每一次按壓都成為延續生命的可能，也是一段被拉長的時間。她的作品讓救助不再只是技術，而是一種身體記憶與時間的回應。
黃永生的作品則以科技與物質性回應「救助」的象徵。《泡沫》呈現兩個性格迥異的人工智能持續對話生活的意義。他們始終無法真正理解彼此，卻也無法停止交流，展現出一種在持續渴望與徒勞之間懸置的狀態。《吻》則以單頻道彩色影像記錄一個巧克力版本的「救難安妮」逐漸被螞蟻分解的過程。這個象徵救助的身體在鏡頭下轉化為脆弱的物質，從保存走向消散，讓「拯救」的意象在腐蝕與消逝中被重新理解。
陳健聲的作品回到日常與城市現實，並以敏銳的觀察呈現救助在制度與偶然之間的落差。《Messenger》捕捉那些在困難時刻意外出現的微小訊息 – 陌生路人 T-shirt 上的一句字句，成為意外的安慰與支持。他以雙重印刷保存這些瞬間，讓偶然的支持得以延續。《Get Lost》則呈現城市中尋狗資訊的散落與制度支援的不足，透過與政府部門互相溝通的文件組成一個「社會雕塑」，思考生命在制度中的可見度與被忽略的方式。他的作品揭示救助有時來自偶然的善意，有時卻因制度缺口而缺席。
文頴恩的作品聚焦於凝視、距離與跨文化的連結。《She Who Waits 守候的她》呈現一組像（Anne）閉著眼的中東年輕女子肖像，她們不言語、不解釋，只是靜靜地等待，讓觀者在靠近與退縮之間看見自己的反應。作品關注我們如何決定誰值得理解、誰讓我們遲疑、誰被我們悄然推遠。《May the One who blessed 願祂賜福》則以柔軟的黃帶子承載一段跨文化的祈禱，以中文書法筆觸書寫希伯來文祝福文，象徵在混亂中維持希望的方式。作品從祈求轉化為希望實現，成為一種柔軟而堅定的救助。她的作品提出展覽最核心的提問：救助不只是技術，而是我們願意為誰停下來。
關蓉而的作品以靈性作為切入點，將「避難所」的意象轉化為一個跨越時空的內在空間。《Sanctuary》以壓克力與油彩構築出遠離現實的寧靜場域，回應古老的庇護概念，一個讓生命得以暫時安放的地方。她從舊約的「逃城」意象出發，將 Anne 作為「生命得以延續」的象徵，並以此延伸出一種跨越宗教與歷史的精神庇護。《In remembrance of me》則以每月一次的創作儀式，將聖餐的記念與 Anne 的象徵並置。作品以陶土、壓克力與燭光構成一系列小型祭壇，讓「救助」從身體延伸至精神層面，成為一種持續的追思與祝福。她的作品提醒我們，救助有時不是行動，而是一種願意記住、願意守候的姿態。
《Dear (Anne)》是一場關於靈性、傷口、時間、日常、制度、凝視與祈禱的深層探索。在這裡，「救助」不再是單一的行為，而是一種持續的取態，一種願意靠近、願意理解、願意承擔的方式。Anne 的臉只是起點，真正的問題是：當生命在我們面前暫停，我們會如何回應。
資助機構：香港藝術發展局
本計劃內容並不反映香港藝術發展局的意見。



Exhibition Introduction — Dear (Anne)
Dear (Anne) extends the inquiry initiated in the 2021 exhibition Little Albert, reuniting the same group of artists to revisit questions of fear, response, and human connection. Five years later, the focus shifts from conditioned reaction to the ways we actively respond to another’s vulnerability. The exhibition draws its conceptual point of departure from the “Unknown Woman of the Seine,” a young girl whose serene death mask, discovered in late‑19th‑century Paris, later became the model for the CPR mannequin Resusci Anne. A life lost in despair was transformed—half a century later—into a universal emblem of rescue. This passage from death to preservation anchors the exhibition’s central question: what does it mean to help?
Anne’s closed eyes become a reflective surface, prompting us to consider our own stance when faced with injury, need, or silent appeal. The five artists respond to this question through distinct artistic languages—spiritual refuge, bodily memory, the irreversibility of time, fleeting signals in daily life, and cross‑cultural gestures of care—forming a layered meditation on what rescue can mean. Rather than approaching the idea from a single vantage point, the exhibition moves across multiple registers: the intimate tension between seeking help and offering it; the structures that shape contemporary support systems; the viewer’s position in moments of urgency; and the shifting nature of care in an age of technological mediation. Through these perspectives, rescue emerges not as a fixed act but as an evolving practice of attention, presence, and response.
Tracy Cheng’s works examine the thresholds between vulnerability and resilience. After Cupid (resin, metal) begins with “a wound—one imagined as made by Cupid’s arrow,” drawing on the myth of gold arrows that spark desire and lead arrows that provoke aversion, both originating from the same act of being struck. Molded with a diamond‑hard texture, the wound preserves its mark while transforming it, becoming “a site of resilience” where injury thickens into protection. Dialogue with the Moment extends this inquiry through horizontally arranged fragments of external cardiac compressions; the force of the hands, the rise and fall of the chest, and the urgency of breath are slowed into dislocated loops that hover between life and death. Through this deconstruction and reconstruction of time, Cheng creates a visual rhythm of continual progression and return, exploring the fragile, suspended space where life, time, and mortality intersect.
Wong Wing Sang responds to rescue through technology and material transformation. Bubble Talk combines microcomputer, and a video installation where two artificial intelligences with distinct personalities engage in endless dialogue about the meaning of life. They discover that mutual understanding is impossible, yet the conversation itself cannot stop—an exchange suspended between persistence and futility. The Kiss presents a single‑channel video recording a chocolate cast of Resusci‑Anne gradually consumed by ants. An emblem of rescue becomes fragile and edible, tracing a passage from preservation to dissolution, and reframing the symbol of aid through decay and disappearance.
Kingson Chan’s works trace the fleeting ways care and attention surface in daily life. Messenger (mixed media, T‑shirts, 2024–) begins from the belief that “we cannot ignore the power of religion in supporting people during difficult times,” and that across different faiths, God may reveal messages in unexpected forms. For the artist, these moments often arrive through a random pedestrian’s T‑shirt—brief, miraculous encounters that offer comfort when most needed. He photographs these ephemeral messages on his phone and double‑prints them onto white T‑shirts, preserving what would otherwise vanish in an instant. In Get Lost, Chan turns to the issue of missing dogs in Hong Kong, noting the absence of any official noticeboard or public platform for reporting lost pets. Citing Gandhi’s reminder that “the greatness of a nation can be judged by the way its animals are treated,” he assembled email correspondence urging the government to install public noticeboards. The work functions as a form of social sculpture, illustrating systemic gaps while proposing practical ways to strengthen visibility, care, and responsibility.
Carol Man’s She Who Waits presents portraits of young women from the Middle East, a region that many in Hong Kong know only through online images, headlines, and distant narratives, rather than lived experience. Brought into a quiet, intimate space without violence or dramatic scenes, each figure shares the closed‑eye expression of (Anne), the face meant to make you pause and ask: Would I help this person. Viewers respond differently to each portrait: some feel immediate empathy, others hesitate, and some are unsure what they are seeing. The work highlights how we form judgments about people we have never met, and what we think we know about an unfamiliar place. May the One who blessed, a soft sculpture made from 60 yards of yellow burlap ribbon, carries the Hebrew prayer Mi Sheberach written in Chinese‑inflected Hebrew calligraphy, recalling the day Man was given the name of an Israeli‑Argentinian civilian taken hostage on 7 October 2023 and asked to keep him in her prayers. The yellow band becomes a quiet act of hope and remembrance. Together, the works reflect on empathy, distance, and the fragile ways we hold the lives of others—whether they wait silently or are carried in prayer.
Kwan Yung Yee’s works draw from the spiritual meanings of sanctuary and commemoration. In Sanctuary, she reflects on the sanctuary as the inner area of the Tabernacle or the Temple in Jerusalem—God’s dwelling place, a space set apart for worship, prayer, sacrifice, and refuge. She connects this to the Old Testament “cities of refuge,” where those who had caused accidental harm could find protection, seeing in Anne a parallel symbol of saving life. Imagining a meeting with God, she creates a quiet, peaceful atmosphere that “transcends time and space,” guiding viewers into a hidden place far from reality. In In remembrance of me, Kwan turns to commemoration as a way of remembering the deceased. Anne’s face becomes a form of remembrance that resonates with the Christian Eucharist—“Do this in remembrance of me”—which Kwan receives monthly. Over the coming year, she will create monthly mixed‑media works honoring both Jesus and Anne, using art as a ritual of respect, nostalgia, and the preservation of precious life.
Dear (Anne) is an exploration of spirituality, wounds, time, daily life, systems, looking, and prayer. Here, rescue is not a singular act but an ongoing stance—a willingness to approach, to understand, and to carry another’s weight, even briefly. Anne’s face is only the beginning. The deeper question remains: when a life pauses before us, how will we respond?


Supported by Hong Kong Arts Development Council  
The content of this programme does not reflect the views of the Hong Kong Arts Development Council.