Their latest works, such as the 7-hour long pieces “Dance is Ancient” and “Queens of the Fauns,” blur the boundaries between performing and partying. Such pieces originate from rigorous movement research processes, informed by their experience in the field of somatics as well as in specific forms of contemporary dance. Gies’ work draws on their former training in ballet and their recent participation in techno clubs and raves. The dances they create collapse the hierarchies and distinctions between different dance forms, recycling and perverting dance history.

In the 90s, Gies danced in the works of various French choreographers, such as Daniel Larrieu, Olivia Grandville, Odile Duboc, Jean-François Duroure, Bernard Glandier, and Christophe Haleb. They then started to develop their own work, which considers the relationships between dance, choreography and politics—how movement practices might address politics in a non-representational way.

Gies’ work has been supported by a number of Swedish initiatives such as experimental platform Weld, artist-run house for performance Skogen, and independent venue Inkonst. They regularly collaborate with other artists, co-founded the Praticable, and performs in pieces by other choreographers. In 2010 and 2011, they were one of the organisers of the Living Room Festival, which took place in Berlin and Madrid. Gies has taught internationally, and used to be a senior lecturer in choreography at Stockholm’s DOCH School of Dance and Circus.

Frédéric Gies is supported by SHAPE, which is cofunded by the Creative Europe programme of the European Union.