In this online discussion Pan Daijing will give a short presentation followed by a discussion of her performance works spanning her recent work. Works featured include Tissues and The Absent Hour which premiered at Tate Modern, London, 2019; Dead Time Blue, Martin Gropius Bau, Berlin, 2020; Done Duet, a performative installation work for the 13th Shanghai Biennale, Power Station of Art, Shanghai; and her most recent performance works One Hundred Nine Minus and Echo, Moss and Spill which was presented at Tai Kwun Contemporary, Hong Kong over the course of this year.
Daijing’s performance-based practice explores modes of storytelling across sound, movement, the architectural environment and moving image. Drawing on the capacity of music to exceed the limits of language, her work communicates sonic, physical, and psychological depths, seeking a means of connection beyond the human condition. Her compositional method is based on extensive improvisation with analogue synthesisers and the human voice as well as deconstruction of instruments and field recordings. Exploring the sphere of psychoacoustics and opera, she uses both recording techniques and live performance to expand the listening experience and challenge the understanding of music as an art form. Her work is often developed in conversation with architectural space, pressurising the boundaries between forms to create enveloping, sensory experiences for audiences to enter and inhabit.
Pan Daijing (b. Guiyang, China, 1991) is a Berlin-based artist and composer, her artworks have been exhibited internationally, at Tai Kwun Contemporary, Hong Kong (2021); The 13th Shanghai Biennale, Power Station of Art, Shanghai (2021); Martin-Gropius-Bau, Berlin (2020); Tate Modern, London (2019); Biennale of Moving Image Geneva (2018). She has also performed at Barbican Centre, London; Palais de Tokyo, Paris; Elbphilharmonie Hamburg and Haus der Kulturen der Welt, Berlin among many others. She has released three full-length albums including Tissues (2022), an archival document of her 2019 performance of the same name, Jade (2021) and Lack (2017).