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.