All photos shot by Wolfgang Tillmans.

Panoply. Pandemic. Panorama. When Vasilis "Bill" Kouligas started the PAN label 15 years ago, he wasn't conscious of the power behind the name, a prefix describing "all" or "of everything." But it's now clear how it represents a web of meaning in unexpected, preternatural ways. Pan—the Greek god of nature and pasturelands—was the name of his late grandfather's hiking team in Athens, whose gold medal Kouligas has held onto since he was a teenager. Pan is also a locative suffix, modulating the beginning half of a word to place it "on" or "above"—or as Kouligas said, representing "the space in between."

PAN's sound certainly resides in the in between, and in many ways, its artists all hover above electronic music, so to speak. Their works jeté over the genre's abstracted sensibilities, drip-feeding in unrecognisable elements without ever succumbing to one singular sound. Much like Kouligas himself, they don't sit comfortably anywhere. Nor do they want to.

Across its 15-year run, the label has been affiliated with electronic music's most respected and transgressive acts, releasing music by respected techno talent Helena Hauff and Regis before pivoting to the alien chanteuse Eartheater, sonic shapeshifter Yves Tumor and critically acclaimed experimental vocalist Marina Herlop. Fine art institutions like Bourse de Commerce-Pinault Collection and Lafayette Anticipations in Paris, along with esteemed contemporary artists such as Turner-prize winner Mark Leckey and the Venice Biennale Golden Lion-winner Anne Imhof, all sit within a wide PAN constellation, as do fashion designers du jour Kiko Kostadinov and Ottolinger.