Pan Daijing

This is the last weekend of ‘Theatre of Cruelty’, the exhibition I curated at @casinoluxembourg – rooted in, and taking its name from, French artist Antonin Artaud’s radical vision of experimental theatre. Formulated in the 1930s, Artaud’s thinking proposed a theatre that would bypass language and reason, addressing the body, the nerves, and the unconscious – not to entertain, but to unsettle, rupture, and transform. For Artaud, “cruelty” was never mere shocking bloodshed, but a merciless intensity – a demand to confront existence in its rawness, its suffering, its ecstasy, and its mortal edge. Bringing this vision into the present, the exhibition gathered artists across generations and disciplines whose works refuse narrative comfort, instead staging acts of exorcisms that unsettle and disturb, embodying existential melancholy, ruptured language, the force of gesture, and the primal energy Artaud imagined. With sincere thanks to the artists who shaped this exhibition: Ed Atkins @edatkinsdiet , Angélique Aubrit @i_saw_you_in_my_dreams & Ludovic Beillard @ludovicbeillard , Tobias Bradford @tobias_bradford , Romeo Castellucci @theromeocastellucci , Pan Daijing @infinitydosezero , Tadeusz Kantor, Liza Lacroix @lizalacroix , and Michel Nedjar. It was an honour to present their works alongside very rare drawings and sketches by Antonin Artaud himself. My deepest thanks to the exceptional team at Casino Luxembourg – Forum d’art contemporain for their care, trust, and commitment throughout, and especially to Kevin Muhlen, director of Casino Luxembourg, for the invitation and for enabling me to realise this vision. 🖤🖤🖤 📷 @marcdomage

CHANEL Next Prize 2026: meet the artists shaping the future of creativity. Now in its third edition, the biennial award champions contemporary artists and grants them the time and space to realise their most ambitious ideas. The 2026 Next Prize was awarded to 10 visionary creatives—from 10 different countries—selected by a jury of cultural leaders. Link in bio to meet the winners. #CHANELNextPrize

For Pan Daijing @infinitydosezero , the choice of space is an unpremeditated bodily instinct. The Chinese artist, now based in Berlin, regards large-scale architectural systems as a form of shelter—almost as a home. In recent years, the architectural spaces she has responded to and intervened in include Tate Modern in London, the Louvre in Paris, Haus der Kunst in Munich, the Hamburger Bahnhof in Hamburg, and M+ in Hong Kong. We spoke with Pan in our Fall talent issue about her newly commissioned work, the paradoxes that permeate her practice, and her fascination with the elusive. Photography Nadine Fraczkowski @nad_1n3 Styling and production Sharon Chiu @essy108 Interview and text Leandra Makeup Cathy Zhang @zhanglooo Hair Kristy Cheng @kristywailing Photography assistants Cheung Man Cheuk、Chik Chi Yuen Styling assistants Summer Li、Ciel Bai、Laser

Pan 🖤 outtakes @infinitydosezero @numerochina Stylist & Producer: Sharon Chiu @essy108 CD Tim Lim @timothylimothy Make-up : @zhanglooo Hair:@kristywailing Photography Assistants: @mancheukmc Chik Chi Yuen  Fashion Assistants: Summer Li, Lazer

My 🖤 Pan Daijing @infinitydosezero @numerochina Stylist & Producer: Sharon Chiu @essy108 CD Tim Lim @timothylimothy Make-up : @zhanglooo Hair:@kristywailing Photography Assistants: @mancheukmc Chik Chi Yuen  Fashion Assistants: Summer Li, Lazer

“It is not about what we are revealing, it’s the gesture of opening up something that is unseen. It brings maybe a sense of hope.” —Pan Daijing In the immersive exhibition “Sudden Places,” Pan Daijing blurs the boundaries between individual pieces and their surroundings. Six artworks spanning painting, sculpture, photography, sound, and moving image are installed in a dark landscape alongside other works intentionally left unidentified. Discover the work for yourself during the exhibition’s final week. “Pan Daijing: Sudden Places” closes July 6.

“Like the other installations in ‘Sudden Places,’ Daijing’s film work holds a curiosity about the language of mindfulness, using a variety of compositional forms to communicate a network of internal sensations.” Hit the link in bio to read Pan Daijing “Sudden Places” at @walkerartcenter , Minneapolis reviewed by @sheilaregan from 350 Spring 2025. #PanDaijing #SheilaRegan #FlashArt350 #FlashArtMagazine

🚨 2 months left to see 𝘗𝘢𝘯 𝘋𝘢𝘪𝘫𝘪𝘯𝘨: 𝘚𝘶𝘥𝘥𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘴 @walkerartcenter 🚨 For her first US museum exhibition @infinitydosezero transformed Burnet Gallery into a dark, immersive landscape that exists as an artwork onto itself. Anchoring the exhibition is 𝘛𝘩𝘦 𝘏𝘰𝘶𝘳 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘋𝘰𝘨 𝘢𝘯𝘥 𝘞𝘰𝘭𝘧 (2021–2024), which shows brief snippets of performers in close interactions—at times together and at times in isolation—suggesting moments of intimacy and dependence. The exhibition premieres two new paintings - 𝘊𝘳𝘦𝘢𝘮𝘊𝘶𝘵 1 and 𝘊𝘳𝘦𝘢𝘮 𝘊𝘶𝘵 2 (2024-2025) - recessed within the gallery’s central wall. Both were made during the artist’s 2024 exhibition 𝘔𝘶𝘵𝘦 @haus_der_kunst Once parts of sculptures, they were marked by performers with chalk following a method that draws on automatic writing. One of my favorite works is Untitled (2025), in which Pan cut directly into the gallery’s wall, exposing our building’s inner guts - a glimpse into a typically unseen space filled with wiring, cables, scaffolding, and building infrastructure covered in fireproofing spray. 𝘚𝘶𝘥𝘥𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘴 also features 𝘚𝘤𝘢𝘭𝘦 𝘍𝘪𝘨𝘶𝘳𝘦𝘴 (2023/2025), one of Pan’s first museum collection acquisitions to date. A composition in three parts, 𝘚𝘤𝘢𝘭𝘦 𝘍𝘪𝘨𝘶𝘳𝘦𝘴 contrasts materiality and immateriality, hard and soft, presence and dispersal. Within the space, we hear the voices of two classically trained opera singers—a countertenor and a mezzo soprano—oscillating in a kind of call and response pattern. These fleeting sounds come into dialogue with the suspended sculpture. At once heavy and slight, the strands play on the relationship between a part and the whole, a dancer and a group. The work’s third part consists of inkjet prints on leather, which have been fastened with metal braces to the building’s infrastructure in undisclosed locations across the Walker campus (last image). My biggest thanks to @infinitydosezero @canicalm @brandoneng__ and supporters @shaneakeroyd #LewBaskerville come see 𝘚𝘶𝘥𝘥𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘴 before it closes July 6!

In her review of Pan Daijing’s “Sudden Places,” Mariana Fernández considers the ways we locate ourselves in the museum when conventions of legibility and interpretation are stripped away, and our own presence is privileged. Bringing her memories of the exhibition into the present moment of writing, Fernández frames the exhibition as a score, one continually revealed through multiple temporalities and modes of perception.  Commissioned by 2025 EIR Lumi Tan Link in bio 🔗 @mariana___fernandez @infinitydosezero @walkerartcenter @lumit #MarianaFernandez #PanDaijing #WalkerArtCenter #LumiTan #LumiTanEIR2025 Images: Installation views of “Pan Daijing: Sudden Places,” Walker Art Center, Minneapolis, 2025. Courtesy of Walker Art Center. Photograph by Eric Mueller.

“I don’t feel like I make music, I reveal what I hear” Head to @walkerartcenter YouTube channel to hear an opening day dialog with Pan Daijing @infinitydosezero celebrating her first US museum exhibition 𝘚𝘶𝘥𝘥𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘴 @walkerartcenter In our opening day discussion, Pan explores how music, composition, and improvisation have informed her practice, and describes the importance of the embodied encounter, intuition, duration, and responsiveness to space. Come see 𝘚𝘶𝘥𝘥𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘴! Thank you @shaneakeroyd #LewBaskerville for supporting the exhibition. Thank you to @infinitydosezero #TaissaFromme and incredible @walkerartcenter team, especially @brandoneng__

Rooted in noise music, Pan Daijing’s raw approach as a composer and performer takes many forms; primarily performance art, sound, dance and installation, hinging heavily on improvisation and acts of storytelling. Soul-exposing utterances and sonic aesthetic outbursts as a means of direct communication are the main tendons of her practice, vehicles of power and vulnerability interwoven in her work sensorially rather than as statements. The output is poetic and uncanny, often oscillating along paradoxical conceptual states. Together with Danish composer @sos_gunver_ryberg and Atlanta-based sound designer @richarddevine , she’ll join CTM’s second year returning to collaborate with the Venice Biennale, presenting three artists creating complex and enthralling listening experiences. › 𝙏𝙞𝙘𝙠𝙚𝙩𝙨 𝙖𝙫𝙖𝙞𝙡𝙖𝙗𝙡𝙚 𝙞𝙣 𝙤𝙪𝙧 𝙗𝙞𝙤 𝙛𝙧𝙤𝙢 𝘼𝙪𝙜. 12 🔗

‚the book must be able to stand on its own’, this was Pan Daijing‘s condition. This injunction built the ground for all material and content decisions. And here it is - standing in your favourite bookshops and the www. I am endlessly grateful to all our wonderful contributors @infinitydosezero @danielszho @lemohnag @penultimatepress @raimundas_malasauskas @xue77 @emenderby @andrea.lissoni @lydia.lamda.alpha & Donatien Grau. Design & Fotos by @florian.lamm