“I feel that I’m not only choreographing the movement; I’m also choreographing the space”. The quote in the online magazine NR when interviewing the artist may sound like a reasonable conclusion for those who have been following her work. Born in the southern region of China, Guiyang, but living in Berlin for the last few years, Pan Daijing is part of a vast list of sound creators redefining contemporary music. She has been part of countless performances and has marked her presence in dream concerts such as Sónar, CTM, Atonal or Unsound. From noise he has generated a multiplicity of expressions; from the crackling fire of the post-industrial to the margins of opera and concrete music. Tragic, emotional and transgressive – in an attempt to frame possible traces to the indescribable.
Between her own voice, analogue synthesizers and field recordings, Daijing’s work is completed, album after album. Lack and Jade quickly become modern classics. Highly textural, her compositions break through genres, eras and geographies; rather than showing the way, they shape seemingly impossible paths to greater destinations. Circulating through themes associated with ancient mythology or social emancipation, Pan Daijing’s music questions and confronts the nature of his own reality. Inevitably, it evokes the human condition in an imaginary ceremony of wet earth and crackling fire.
The frenzy of performances in various art institutions and museums around the world have enabled this more conceptual exploration around his sound and visual creations. In 2023, he returns to the stage, but with fewer staves and more machines; the need to return to more vivid and intimate spaces where rhythms can set the tone of the night. For this reason, a return to Lisbon that in truth will seem more like a premiere. Naturally obligatory. NA