Right from the very start, Frédéric Flamand’s career has been characterised by three main elements: encounter, dialogue and a certain utopia tinged with realism. He set up the group Plan K in 1973, using it to question the status and representation of the human body by integrating visual arts and audio-visual technology into the living spectacle, and thus laying the foundations for the interdisciplinary approach which still fuels his work today.
Believing it important for a company to be linked to a venue that allows encounters, Frédéric Flamand opened a multi-arts centre in an old sugar refinery in Brussels in 1979. Artists from all kinds of disciplines have performed there, including Bob Wilson, William Burroughs, Philippe Decouflé, Marie Chouinard and Joy Division.
In the 1980s, Flamand collaborated with musicians the likes of Michael Galasso and Peter Gordon, commissioning compositions for his shows. He also worked with artists such as Marin Kasimir on the set design for “If Pyramid were Square”. He first worked with the Italian video artist Fabrizio Plessi in 1989 on “La chute d’Icare” to music by Michael Nyman, followed by “Titanic” (1992) and “Ex Machina” (1994) which concluded the trilogy.
In 1991, Frédéric Flamand was appointed artistic director of the Ballet Royal de Wallonie which he renamed Charleroi/Danses. It was after this appointment that he worked more intensively on integrating classical dance and contemporary techniques in his work, convinced that it is more fruitful to make them talk to each other than set them against each other.
Working with Charleroi/Danses, Frédéric Flamand continued his creative work as well as organising international biennial events centred on chosen themes: “Bodies and Machines” in 1994, “Speed and Memory” in 1996 and “Gender” in 1998.
In 1996, Frédéric Flamand started reflecting on the relationship between dance and architecture, both of them being arts that structure space. This was how “Moving Target” and then “E.J.M. 1” and “E.J.M. 2” came about with the New York architects Elizabeth Diller and Ricardo Scofidio, followed by “Metapolis” with the Iraqi-British architect Zaha Hadid, the 2004 winner of the Pritzker Prize, and then “The Future of Work” for Hannover’s Expo 2000 with the architect Jean Nouvel, with whom he also created “Body/Work/Leisure” . The multidisciplinary optics of its work led him to the head of the 1st International Festival of contemporary dance of the Biennial event of Venice 2003 and to the University of Architecture of Venice for which he was a holder of a workshop in the section arts and design.
In 2004, Frédéric Flamand is appointed general director of le Ballet National de Marseille. He creates “La Cité radieuse“ his first creation for le Ballet National de Marseille, with Dominique Perrault ; "Metamorphoses" with the famous Brazilian designers Humberto and Fernando Campana ; "The Truth 25x a second" with the chinese architect-visual artist Ai Weiwei. In 2012, the Opera Théâtre of Saint-Etienne invites Frédéric Flamand to stage and choreograph Gluck’s opera “Orphée & Eurydice” in collaboration with the Belgian visual artist Hans Op de Beeck who conceived the set and the images. This opera has also been invited at the Opera Royal de Versailles.
In 2013, as part of Marseille-Provence, European Capital of Culture 2013, he creates “Sport Fiction” on the Marseille train station in front of 5000 people.
In parallel, Frédéric Flamand is appointed artistic director of le Festival International de Danse de Cannes for the 2011 and 2013 editions. Frédéric Flamand will also be associated artist of Mons 2015 - European Capital of Culture.