"Yayoi Kusama's Infinity Mirrored Room, a mirror-lined chamber housing a dazzling and seemingly endless LED light display, will be featured in the inaugural installation."
"Rozin's anthropomorphic PomPom Mirror features a synchronized array of 928 spherical faux fur puffs. Organized into a three-dimensional grid of beige and black, the sculpture is controlled by hundreds of motors that build silhouettes of viewers using computer-vision. Along its surface, figures appear as fluffy animal-like representations within the picture plane, which is made permeable by a 'push-pull' forward and backward motion of meshed 'pixels'. Ghostly traces fade and emerge, as the motorized composition hums in unified movement, seemingly alive and breathing as a body of its own."
Daniel Rozin, "PomPom Mirror", 2015, 928 faux fur pom poms, 464 motors, control electronics, video camera, custom software, microcontroller, wooden armature, 48 x 48 x 18 in / 121.9 x 121.9 x 45.7 cm
"Jean Cocteau's update of the Orpheus myth depicts a famous poet (Jean Marais), scorned by the Left Bank youth, and his love for both his wife, Eurydice (Marie Déa), and a mysterious princess (Maria Casarès). Seeking inspiration, the poet follows the princess from the world of the living to the land of the dead, through Cocteau's famous mirrored portal. Orpheus's peerless visual poetry and dreamlike storytelling represent the legendary Cocteau at the height of his powers."
(The Criterion Collection)
"Meshes of the Afternoon is one of the most influential works in American experimental cinema. A non–narrative work, it has been identified as a key example of the 'trance film,' in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus. The central figure in Meshes of the Afternoon, played by Deren, is attuned to her unconscious mind and caught in a web of dream events that spill over into reality. Symbolic objects, such as a key and a knife, recur throughout the film; events are open–ended and interrupted. Deren explained that she wanted 'to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately.'
Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant–garde movement in film in the United States, which is known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers. Beautifully shot by Hammid, a leading documentary filmmaker and cameraman in Europe (where he used the surname Hackenschmied) before he moved to New York, the film makes new and startling use of such standard cinematic devices as montage editing and matte shots. Through her extensive writings, lectures, and films, Deren became the preeminent voice of avant–garde cinema in the 1940s and the early 1950s."
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999.
Maya Deren (1943). "Meshes of the Afternoon", 16mm film, black and white, silent, 14 min. Acquired from the Artist.
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