希克獎由M+於2018年創立，旨在表彰大中華地區及海外華人當代藝術家的傑出成就。第三屆希克獎的六位入圍藝術家包括畢蓉蓉、何銳安、許家維、劉慧德、潘岱靜及黃炳。他們出生於1980至1990年代，目前活躍於全球不同城市，是歷屆入圍者中最年輕的一組。他們的作品形式多樣，涵蓋陶瓷、編織藝術、虛擬實境及人工智能等領域，展現出寬廣的藝術視野。

Established by M+ in 2018, the Sigg Prize seeks to honor the outstanding achievements of contemporary artists from Greater China and the global Chinese diaspora. The six finalists of the third Sigg Prize—Bi Rongrong, Ho Rui An, Hsu Chia-Wei, Heidi Lau, Pan Daijing, and Wong Ping—were born between the 1980s and 1990s and are active in cities across the globe, making them the youngest cohort of nominees to date. Their works span a rich spectrum, from ceramics and woven textiles to virtual reality and artificial intelligence, embodying a boundless artistic vision.

在當代藝術不斷發展的景觀中，六位藝術家共同開闢出嶄新疆域。幾項作品以當代考古結合文化認同為主題展開。藝術家們通過與自身生長環境息息相關的文化遺產為媒介，運用檔案紀錄、水底考古等形式，勾勒出對民族作為本位的獨特思考。更有超現實荒謬構思的錄像裝置，作為對人性慾望的反思。

Within the ever-evolving landscape of contemporary art, these six artists collectively forge new frontiers. Several of their works delve into themes of contemporary archaeology intertwined with cultural identity. Engaging with the cultural heritage of their native environments, the artists employ archival records, underwater archaeology, and other forms to articulate unique reflections on nationhood and identity. Others explore surreal and absurd video installations, offering poignant meditations on human desire.

其中，劉慧德的陶瓷作品靈感來自薈萃了奇珍異物的古籍《山海經》，作品像遠古聖物般，擺放在形似祭壇的平台上，有的貼近地面，有些懸掛半空，用以探討和重新定義哀悼。中央有一隻行動怪異的機械蝲蛛，儼如來自異世界的生物。這些雕塑作品凝聚了藝術家劉慧德對親人離世的複雜情感。看著這些陶瓷“生物”，彷彿喚起了深埋在我們的情感系裏的悲傷情緒。

Heidi Lau’s ceramic works draw inspiration from the ancient Chinese text Classic of Mountains and Seas, a compendium of mythical creatures and wonders. Her sculptures, resembling relics from a bygone era, are displayed on altar-like platforms—some resting close to the ground, others suspended in midair—inviting contemplation on mourning and its redefinition. At the center of her installation, a mechanical spider moves with uncanny strangeness, as if it belongs to an alien realm. These ceramic “creatures” encapsulate Lau’s complex emotions surrounding the loss of loved ones, stirring a deep-seated sense of grief within viewers.

許家維的影像裝置繞甲午戰爭及二戰時期沉沒在澎湖周邊海域的三艘船艦遺骸展開。他探尋地方歷史與集體經歷的交織，運用虛擬實境及考古聲學—透過聲音研究考古遺址的跨領域學科，並結合聲納採集的數據、民間歌謠，以及實驗音樂的混音譜曲，創造出一片沉浸式水下音景。觀眾戴上虛擬實境眼鏡，頭戴耳機，跟隨考古場景走進遺跡，走進考古的現場，走進記憶中的歷史敘事。

Hsu Chia-Wei’s video installation centers on the wrecks of three ships sunk off the coast of Penghu during the First Sino-Japanese War and World War II. His work interweaves local history with collective memory, utilizing virtual reality and archaeological acoustics—an interdisciplinary field that studies sites through sound—alongside sonar data, folk songs, and experimental music compositions to craft an immersive underwater soundscape. Equipped with VR headsets and headphones, viewers are transported into archaeological sites, stepping into the remnants of history and its narrated memories.

畢蓉蓉糅合甲骨文及其他取材自亞洲、非洲等的幾何紋樣，創作出一幅巨型紡織品。融合切割、連接和抽取等主要的編織技法，進一步呈現了這些紋樣的豐富演變。這些繁雜的紋樣令人駐足，正如人類語言一般承載着社會文化的交匯。仔細看時，古老文明的DNA被編織進入觀眾的主觀記憶裡。

Bi Rongrong weaves oracle bone script and geometric patterns drawn from Asian and African traditions into a monumental textile. Employing techniques such as cutting, joining, and extracting, she traces the intricate evolution of these motifs. The complex patterns captivate the eye, serving as a visual language that carries the confluence of societal and cultural histories. Upon closer inspection, the DNA of ancient civilizations seems woven into the viewer’s subjective memory.

何銳安則著重運用生成式人工智能，播放根據演講實時生成的圖像。從新加坡畫家蔡名智的現實主義經典之作《馬來亞史詩》切入，延伸至殖民歷史、機器學習等話題。另一側則展示他梳理出的關於科技如何介入國家權力以及政治行動的編年史，涵蓋1940年代至2025年的重大國際事件，用以探討人工智能權力系統的逐步形成。

Ho Rui An harnesses generative artificial intelligence to produce real-time visuals based on live speeches. Taking as a starting point Epic of Malaya, a realist masterpiece by Singaporean painter Chua Mia Tee, he extends his exploration to themes of colonial history and machine learning. On another front, he presents a chronology of how technology intersects with state power and political action, spanning key international events from the 1940s to 2025, probing the gradual emergence of AI-driven power systems.

黃炳為這件全新的錄像裝置構建了一間童趣十足的房子，模糊了室內外的空間界限。故事以高爾夫球場為背景，交替更換十個角色的內心獨白徐徐展開。黃炳親自為這些角色配音，那些荒誕幽默的妙想，讓觀眾可從中發現角色之間的微妙關係，以及藝術家對暴力、權力及慾望的探問。

Wong Ping constructs a whimsical, childlike house for his new video installation, blurring the boundaries between interior and exterior spaces. Set against the backdrop of a golf course, the narrative unfolds through the alternating inner monologues of ten characters, voiced by Wong himself. These absurdly humorous musings reveal subtle connections between the characters while probing themes of violence, power, and desire.

不妨花片刻時間，調動身體感官，細細品味潘岱靜的裝置作品。她的作品以聲音作為主要元素，融合行為展演、聲音、光線及雕塑等元素，豐富觀眾的感知。螢幕上舞者移動的姿態與四周觀眾往來的身影形成呼應。

Take a moment to engage your senses and immerse yourself in Pan Daijing’s installation, where sound serves as the primary medium. Blending performance, sound, light, and sculpture, her work enriches the viewer’s sensory experience. Onscreen, the movements of dancers resonate with the ebb and flow of the surrounding audience, creating a dynamic interplay of presence and perception.

Date: 2025.9.6 – 2026.1.4
Venue: M+ Museum｜ M+博物館
香港九龍博物館道38號西九文化區｜ West Kowloon Cultural District, 38 Museum Drive, Kowloon, Hong Kong