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