Toss of a Dice Many components of this work are as unstable and unpredictable as the poem "Toss of a dice" by Stéphane Mallarmé ("Un Coup de Dés") which was my major source of inspiration. It was written in 1897 and it is remarkable in every way. It is a unique piece of visual poetry, using seemingly unrelated words and ideas, blanc spaces and different lettertypes. It introduces completely new literary aspects. It can be read in every direction the reader wishes: from the top to the bottom or vice-versa, sideways or in any other way. It has a very specific rhythm and musicality and its meaning gives endless possibilities of interpretation. And in fact is a riddle in itself. I cannot pretend to understand it, but somehow it touches me deeply. The moving sculpture by Susumu Shingu is just as unpredictable. We have decided that it should have two major qualities: danger and playfulness. And although it is a moving sculpture, it moves only because of other forces influencing it. The music by Dirk Haubrich is based on the sound of one single drop of water. This small drop causes a barely audible sound and creates a tiny "tsunami". But since some time we know that every minimal disturbance has a certain influence on the rest of the world.... A "dice" is an ancient device designed to help us predict our future, our chances and our fate. But later it became an object used in hazardous games, which were often forbidden because of their destructive influence. We all are products of millions of chances and sometimes we wish to look into our future by some very simple means. We like to gamble and play dangerous games, like the tossing of a "dice" - the symbol of chance, uncertainty and unpredictability. Jiří Kylián - The Hague, June 6, 2021
Dancers of Eternity Seeing the work of Susumu Shingu on his own "home ground" is an extraordinary experience, which can touch us on many levels of our sensitivity. His sculptures, moving objects seem to transmit to us some eternal wisdom, they are antennas, communicating with long forgotten worlds, and at the same time, with worlds, which still wait to be discovered. They are time-machines defying the existence of time, they are metronomes striking irregular rhythms. They are metaphors for our passing existence. Their silence is filled with music. Through water and wind they move in the most unpredictable way, and they tell us poems in the language of light. They are reflectors of our desire to communicate between the most hidden places of our souls, and the worlds far beyond our grasp. Many of these objects consist of two main moving bodies - They move independently, but yet they influence each other through the currents of air generated by their motion, creating the most harmonious and yet independent and adventurous cohabitation. They are the most respectful partners, dancing their way through time. These sculptures are modest in their integrity and sophisticated in their simplicity. They should be seen in the context of the personality of their creator, whose quiet strengths and integrity lies firmly imbedded is the static centre of every one of his creations. These "creatures" he invented, use the elements, which were given to us by nature, to their utmost advantage, just the way we should do. They teach us not only about spirituality, beauty, aesthetics, communication and coexistence. They also make us think about our environment, about physics and about the efficient use of the forces of nature. They move when we are asleep or awake, they don't only show their beauty when looked upon. They are our 'guardian angels' in light and darkness, in good or bad times - in war or peace. I am deeply moved by these moving objects of eternity. Surely, they will have profound influence on my own creative process. Jiří Kylián - The Hague, October 9, 2001