Commissioned by 13th Shanghai Biennale, 2021.

Displayed at Power Station of Art, Shanghai, between April 17th – July 25th, 2021, with an activation performance on April 16th. 

Voice (22’45” loop), steel, acid, quartz, polyester, water, video (multi-cam live monitor).

Done Duet recast the silos, a cavity that cuts through three floors, as the spine of Shanghai’s Power Station of Art. It evoked the sensation of undergoing a lumar puncture– the extraction of a vital liquid from deep within the body, pulled through a long thin needle – a procedure that Pan experienced many times over the course of a childhood illness.

Acid-soaked steel and strands of hair hang from the ceiling, eroding and degrading over the course of the three-month installation. Droplets of water fall metronomically from the sky to a desert of quartz, collecting in a pool and turning slowly to amber. A live monitor at the viewers’ feet transmits real-time images from the ceiling to the ground. Cascading layers of opera voices invite the audience into the space, transforming it into a dissonant reverie, underwater or above the sky. Eroded landscapes are punctuated with moments of liveness to encourage an inward listening of the composition and architecture. Its viewers narrativise and shape, through the direction of gaze or duration of their stay, their own experience, entering into a performative entity that continuously feeds back into the work.

水可以将峡谷雕刻成岩石，但是对于个人而言，这种景观变化过于缓慢而无法察觉。《重奏》的衍变不止，参观者不断在它的存在上留下痕迹，从空间里的配角变成主角。他们的行为预示了结尾也启动了一个新的循环，任何元素都可以构成表演环境，任何背景都可以作为创作机体，耳朵与眼睛相扶相佐，给我们的存在赋予了更多诗意的可能。

Comissioned by Ghost 2565, Bangkok. Performance on 29th October 2022.

Uncut explores roughness and rawness by experimenting with noise as idea and material, in order for new sensations and energies to emerge. Often creating works within architectural interventions, for Ghost 2565, inspired by the emotional and historical intensity that reverberates underneath the city’s surface, her performance combines sound, movement, and other elements to evoke a haunting sonic, affective, and visual landscape that interacts with Bangkok as a site of contested forces.

Commissioned by Martin Gropius Bau, Berlin. 30th and 31st January 2020.

In conversation with the architecture and acoustic characteristics of the Lichthof at Martin Gropius Bau, Dead Time Blue created a vast sonic environment in which divisions between audience and performer were blurred. Melancholia is a pensive sadness without obvious cause. Dead Time Blue sharpened this sensation from multiple angles. Over the course of the performance, which took place on two days, the atrium transformed into an opening and compressing lung. In this mesmeric landscape filled with disembodied and live operatic voices, audience members were encouraged by the movement of the performers to explore the Lichthof or place themselves wherever they felt comfortable, creating physical communication that oscillated. Experienced at a distance or from the hall’s elevated viewpoint, the same events began to form a cohesive plot, while the eye was drawn to individuals, allowing one to witness their own solitude reflected in that of the performers. After the cast had exited, leaving discarded clothes on the floor, Dead Time Blue remained a shelter in which the audience listened with their whole bodies.

Performance at Zeiss-Großplanetarium, Berlin, January 2021; and at the National Pantheon, Lisbon, October 2021.

Half a Name is a site-specific opera performance series, in which Pan Daijing takes on the expansive sound and visual documentation of her large-scale performances, developed in recent years. Deconstructing moments of memories, the piece explores the possibilities of the performative archive, as well as its practice in experimental narrative.

Commissioned by Tate Modern, London. 2nd-6th October 2019.

The Absent Hour expanded the experience of the opera Tissues by reconstructing fragments and traces to create an independent installation and performance, foregrounding the sculptural and architectural dialogue taking place in the cavernous South Tank. It invited spectators and performers alike to overstep the line that divides them, presenting the space as an environment to be engaged with, activated and transformed into performance by the interactions, investigations and vocalisations that took place within it over the course of six hours each day. As a durational performance piece, it indulged the audience in travel and exploration, granting hours in which existence was absent in the presence of experience.

The Absent Hour是一个从2019年9月30日至10月6日于泰特现代美术馆的South Tank展出的表演装置作品。它将Tissues的片段重组成为一个全新的沉思体验——好似其姊妹作品的遗痕。该作品通过主题鲜明的时长一小时六幕表演演变而成：蓝时间，空时间，红时间，活时间，暗时间和静时间。

Commissioned by Berlin Atonal, 24th September-31st October 2021.

SEAL was an installation for METABOLIC RIFT at Kraftwerk, Berlin. Cascading layers of voices, immateriality and presence are the conceptual parameters for the work, which explores psychoacoustic space and the transformations of energy that can occur across it. The audience was led by beckoning voices through a tunnel to the 7-minute sight-specific piece featuring sound, video and a large block of ice that melted over the course of the exhibition. Pan’s installation occupied the entire main room and tunnel of the club Tresor, as the first artwork to be experienced at the exhibition, a reflection on and inversion of the effect that club spaces have on the human mind and body.

Premiered 20th August 2017 at Kraftwerk, Berlin.

Dealing with the inherent brutality and fluidity of feminised experience, Fist Piece is a performance work built for stage. Taking on the role of narrator, the artist engages in an improvised performance in dialogue with live music and a three-channel film installation featuring herself and her mother. Over the course of the performance, the artist explores multiple personas, at once playful yet fragile, intimate yet violent. A twist in the narrative occurs when she is joined on stage by a second person, acting as the protagonist’s double. Fist Piece is a visually vivid and sonically emphatic exposition of the artist’s personal understanding of trauma. While leaving open the possibility of transformation, it seeks to communicate and explain the idea of ​​pain in a universal way. Since its premiere at Kraftwerk Berlin, it has been performed internationally at venues and festivals including Barbican Center and Elbphilharmonie Hamburg.