Hong Kong Chinese artist Yang Jiahui has been unanimously praised by the jury of the first Hickey Prize for his installation work "Muffled State #22: Muffled Tchaikovsky's Fifth Symphony". He was honored with the Sigg Prize in May.
In his writing, sound is a phenomenon leading to some kind of philosophical thinking. This phenomenon is presented to us as an art with aesthetic possibility through his "arrangement of music". But if we regard it only as the so-called "pure art" and only care about the audible, visible and perceptible components, then we will surely miss the valuable questioning, reflection and criticism in the modern era.
What Yang Jiahui marks in reality is the background noise of the information confusion, the will to speak which is forced to be silenced, and the vision which is deliberately covered up by the mainstream voice. And his operation should not be simply understood as a "reverse", that is, under a dualistic opposition, the oppressed party is forcibly empowered. The artist breaks away from the dualistic structure and establishes an "other" outside of it.
Sounds, such as musical sounds, noises or sounds, connect the experiences and memories of the listener and the viewer, and try to provoke doubt about what is taken for granted. Yang Jiahui's creation does not set a community of imagined audiences, but breaks into the gap of reality to reveal the existence of a strange "other". Thinking about the present and the dilemma of the present are hidden in our question-answer.
The relevance of art to reality became the ultimate concern of our dialogue. In "The World Falls Apart IntoFacts," Yang uses musical melodies as cultural memories, attempting to present the apparent interconnectedness and underlying complexity of such memories. "I'm looking for a way to include or understand different elements, to create some order out of chaos."Yang said. In these orders, the voice can be humorous, ironic, or intense and defiant.