Giollo Art

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International Competition for the Creation of Art
at the station M2 'Riponne - Maurice Béjart' in Lausanne - Switzerland


Hommage à Maurice Béjart

Concours international pour la création d'une oeuvre d'art dans la station du métro M2 "Riponne – Maurice Béjart" à Lausanne


Giollo :: Maurice Béjart Art Concept

Giollo :: Maurice Béjart Art Concept
Giollo :: Materials Details Materials:

- several layers of 7 cm. wood
- spray lacquered with oil base colors
- coated with transparent Ciba® XYMARA™ Effect Pigments


Concept Maurice Bejart:

" J'aime bien la station de la Riponne, avec ces murs gris et sobres, les verts et les bleus reflétant la lumière de ses 2 entrées latérales.
# J'aime les espaces vides et dépouillés. En voyant ces lieux pour la première fois, je les ai tout de suite appréciés.

En plus d'être un grand artiste, Maurice Béjart m'impressionne par ses yeux bleus perçants. C'est pour cela que je les ai inclus dans le mur Nord, regardant le danseur du mur Sud.

Le danseur, c'est l'espace vide dans l'ouvre.
Il symbolise la vacuité que le danseur ressent lorsqu'il est total dans sa danse.
Lorsque le danseur est total, il disparaît et seule la danse reste ; ce sont les couleurs vives, éclatantes qui entourent la forme.
Il s'agit-là d'une expérience que Nijinski, Nureyev et d'autres ont souvent décrite, lorsqu'ils dansaient.

Les couleurs du rouge au jaune symbolisent pour moi les couleurs de la vie.
Le rouge est aussi la couleur du costume du danseur de l'Oiseau de Feu ou de la scène de danse du Boléro.
Le bleu et le lilas sont un rappel de la réflexion du toit extérieur de la station du métro.
Les verts et bleus sont reliés aux mêmes couleurs des 2 murs colorés du lieu.

Sur le mur Nord, j'ai inclus la couleur grise existante du mur pour jouer avec les yeux de Maurice.

J'ai gardé l'ensemble très simple, avec des lignes et des couleurs nettes, pures, pour symboliser la façon sobre et épurée avec laquelle Maurice dessinait ses costumes, ses chorégraphies, ses décors.

Matériel :

· Plusieurs couches de bois de tailles légèrement différentes
· Spray laquant avec des couleurs à base d'huile
· Revêtement (enduis) de Ciba® XYMARAT Effect Pigments transparent"

- D. M. Giollo

Proposal for a sculpture at the Métro Station  M2 'Riponne - Maurice Béjart' à Lausanne - Suisse
South wall


Few exerps from Osho about Nijinski

Your body, your mind, your soul all fall into a harmony in dancing. Dancing is one of the most spiritual things there is. If you really dance, you cannot think. If you really dance, the body is used so deeply that the whole energy becomes fluid. A dancer loses shape, fixity. A dancer becomes a movement, a process. A dancer is not an entity: he's movement, he's energy. He melts. Great dancers, by and by, melt. And a dancer cannot retain his ego because if he retains the ego, that will be a jarring note in his dance. A real dancer loses his ego in it. He forgets that he is. The dancer is lost; only the dance remains. Then the door opens because you are one unity. Now the soul is not separate, the mind is not separate, the body is not separate. All have fallen in one line. All have become one, melting into each other, merging into each other.

It is said about Nijinsky, one of the greatest dancers in the world, that there were moments when he would take jumps, and he would come back so slowly that it was almost impossible. He would fall back featherlike, as if gravitation had lost its power over him. Scientists were worried: "This should not happen, it cannot happen" -- but it was happening. No other dancer has been capable in that way.

And of course, Nijinsky went mad; he became a Baul. His is one of the madnesses which has not yet been understood. And because he was in the West, it was impossible to comprehend what had happened to him. He was confined to a psychiatric hospital, forced, given electric shocks, insulin shots. Had he been in the East he would have become one of the greatest Bauls. His madness was nothing to be treated, it was something to be revered. But how did he become mad? He became mad through his dancing. When he was asked what happens to him, he said, "It happens only when I am lost, so I cannot say anything about it. If I am, then it never happens. I have tried it. If I am there, deliberately trying it, consciously trying, it never happens. But there are moments when I am lost. Then simply, I don't know who jumps -- and then it happens. I am also surprised. I have no explanation for it, but it happens only when I am lost."

That is what Bauls say: when you dance and you become a whirlwind and, by and by, you are completely lost in your dancing, it happens. Something breaks down inside you. The barriers are lost. You become one unity. A great orgasm spreads all over your being. You are in tune with existence in those moments. These moments are the SATORIS of Zen, but Bauls have a better way to attain them. Zen has to be worked on for twelve, fifteen, twenty, thirty years. It is a very slow process. It is the path of meditation.

Bauls can attain to it more easily. Just the day you decide that, "I am ready to drop my ego," you become available to God and God becomes available to you. The essential man suddenly arises over the non-essential; there is a mutation. And this is the moment when you are full of love, when you are love, when your energy is love. This is the moment when you can bless the whole existence. When there is no conflict within you, there cannot be any conflict between you and the existence. That is the secret: drop all conflict within you, and your conflict with the existence is also dropped simultaneously. Become one within you and you have become one with the existence.

-Osho-

Proposal for a sculpture at the Métro Station  M2 'Riponne - Maurice Béjart' à Lausanne - Suisse
South wall


Nijinski used to say that: "As long as I am dancing conscious that 'I' am dancing, my dance is ordinary but when the Void within me takes hold of me my dance becomes extraordinary." One day on returning home his wife told him. "Your dance today was so extraordinary, that my heart cried to think that you were the only unlucky one who could not see it." Nijinski said, "You are wrong. I too saw." "How can I believe that?" His wife questioned. He replied, "As long as it is I who dance, I cannot see myself but when the Void within me takes over the dance, I stand aside and watch like a spectator."

Nijinski was the only dancer who was not affected by gravitation -- so it is said. Many a time during the dance, he would jump in the air and then he came down ever so slowly like a feather from a bird's wing. He never fell with a thud like a human being should but came down as a leaf falls from a tree.

It was a wonder feat that left the spectators astounded. It seemed an impossible feat -- unbelievable! People questioned him how he managed it for gravitation must work on the human body. No matter to whom the body belongs, the earth pulls it down. Nijinski would say, "As long as 'I am' gravitation works but when the Void takes over. I am not conscious of anything. Then I fall to the ground as if I am weightless."

Within there is the Void. Whenever a great dance exposition has taken place, it has arisen out of this Void, whenever a great poem has been created, it has arisen from this Emptiness, whenever a great insight has been attained it is through this very Emptiness. Science is born from here, so is religion and art.
...
Lao Tzu says, "The emptiness is the perfect, indivisible energy."


-Osho-

Proposal for a sculpture at the Métro Station  M2 'Riponne - Maurice Béjart' à Lausanne - Suisse
Nord wall

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project: Métro de la Riponne in Lausanne
concept: Hommage à Maurice Béjart
organised: City of Lausanne
art: Giollo
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