Sentences with phrase «in network installation»

Interact with clients on a daily basis to aid in network installation, support, and maintenance for major companies nationwide

Not exact matches

Bechtel is currently overseeing a major portion of Crossrail, the largest infrastructure installation in Europe — a network of tunnels and rail links in London that will connect the city to the outer suburbs.

After this (and with the installation of the Workers» Party in power in Brazil), support from beyond Fortaleza, notably from the National Secretary of the Solidarity Economy in the Ministry of Labour, made possible a network of community banks in Brazil on the Banco Palmas model.

In 2007, the success of Israeli Air Force's Operation Orchard against a Syrian nuclear installation was largely attributed to effectiveness of the Israeli Electronic Warfare platforms that supported the air strike and made the Syrian radars blind: some sources believe that Operation Orchard saw the baptism of fire of the Suter airborne network system against Syrian radar systems.

IP CCTV decreases installation costs by utilising existing networks infrastructure — in essence making it possible to locate cameras anywhere along the network.

Smith told Education World, Im in charge of the budget, ordering equipment, scheduling installations with the network administrator, the district technology committee, department planning, network technology implementations, the Act 48 tracking program, district - wide e-mail, and the district Web site.

Networked computers in a school require installation, supplies, servers, and software to run the networks.

The first wave of official network Android updates for the Galaxy S III have arrived in the UK, with mobile operator Three confirming the Jelly Bean 4.1 release is now live and ready for download and installation.

AC Executive Aviation Services received $ 27 million in the past 3 years for the use of an airplane, while Sierra Support Services received $ 68 million in the past 15 months for the installation of a fiber optic network.

We have networking engineers who provide installation, planning and support; application developers who can build software from the ground up; graphic designers with the ability to create a single logo or design an entire application; and web developers who specialize in developing professional websites.

«In order to guarantee electricity supply without any disruptions, the installation of the undersea cable network is considered the most effective,» Anang said.

The work also included installation of new in - flight entertainment screens with more audio and video content, and the deployment of Lufthansa's on - board broadband Wi - Fi network called FlyNet, now available on all long - haul flights.

The PlayStation Network - not least in the way new features, updates, patches, and mandatory installations are conducted - is still a clunky beast, and integrating Gaikai into Sony's hardware will take time.

I developed social hits that totaled 17 million installations in social networks.

In attendance will be a number of big companies including 101 London, 2K, 505 Games, Activision Blizzard, Arvato Entertainment, Bad Management, Bossa Studios, Brand Culture Sport & Entertainment, BuzzFeed, Carbon Digital, Catapult Business Solutions, Crave Online, Curse, Curve Digital, Dimoso, Drum, EA, Future Games of London, GAME Digital, Gamer Network, Green Man Gaming, Hasbro, Hauppauge Digital, Heaven Media, Indigo Pearl, Installation, Koch Media, MEC, Mediacom, Merge Worlds, Microsoft, MiniClip, Mozilla, Multiplay, NetworkN, NewBay Media, Nordic Games, Onlive, OPM Response, Parker Consulting, Plan of Attack, Playstation, Pole To Win, Purewal & Partners, Reach, Rebellion, Red Lorry Yellow Lorry, Respondez, Rocket, Sega, Sonopress UK, Sony Xdev Studios, Stainless Games, Tangentix, Target, Team Dignitas, Testology, TVBEurope, Twitch, Twitter, Ubisoft, Wikia and Ziff Davis.

In the installation, Charon's transparent oar contains a live soldier harvester ant farm in NASA designed acrylic gel, serving as their habitat and sustenance for their 3 - 6 month lifecycle; an ant tunnel «drawing» that is creating a network as the ants eat and burrow through the gel over the course of the exhibitioIn the installation, Charon's transparent oar contains a live soldier harvester ant farm in NASA designed acrylic gel, serving as their habitat and sustenance for their 3 - 6 month lifecycle; an ant tunnel «drawing» that is creating a network as the ants eat and burrow through the gel over the course of the exhibitioin NASA designed acrylic gel, serving as their habitat and sustenance for their 3 - 6 month lifecycle; an ant tunnel «drawing» that is creating a network as the ants eat and burrow through the gel over the course of the exhibition.

Installation view of Axis Mundo: Queer Networks in Chicano L.A., 2017 at MOCA Pacific Design Center.

«The paintings layer text in various styles over imagery, including lace overlays, gauzy close - ups of the female body and a sampling of styles from the old - boy - painting network — de Kooning, Fontana, Guston, Morris Louis, Newman, Pollock and Richter,» Tompkins writes of the installation work.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

Mining her own experiences of visiting her father in prisons for the past 19 years, Smith will present a combined media installation involving video, neon, photographic and textual works to visualize the ways in which an impersonal bureaucratic system of incarceration take effects on the bodies and minds of the extended network of people bound to it.

Ettun will turn P3Studio into a participatory musical installation consisting of seven musical sculptures inspired by the Fluxus movement, a network of artists, composers and designers noted for avant - blending performances in the 1960's.

Sundaram talks to the Imagine TV Network about Taylor Kuffner's electronic gamelan installation in the Singapore gallery.

Her video, installation, networked performance, intervention, augmented reality, and hybrid media works have been exhibited internationally and are represented by EAI and Postmasters in New York.

Each film installation explores the wide - ranging effects of how information, labor, and capital circulate in global, networked societies.

Three - dimensional depth map sculptures drawing on «the formal relationship of both the photographic negative and the binary relationship between cast and mould» will populate the site - specific networked installation, taking over the entire building and exploring «the mutability of symbolism held in form» in dialogue with its architecture.

, The Creators Project, July Rees, William, «Yuri Pattison: user, space», this is tomorrow, July Parson, Elly, «Blurred Lines: Yuri Pattison questions the viability of live / work spaces», Wallpaper, July Thorne, Harry, «Network Control», Frieze, July Piejko, Jennifer, «Art Basel and Liste», Art Agenda, June Fattori Franchini, Attilia, «Yuri Pattison», Kaleidoscope, Issue # 26, Winter 2015 Herbert, Martin, «British Art Show 8», Frieze, November Dell, April, «Abjection in the Digital Age at Import Projects», BerlinArtLink, September Bondi de Antoni, Alexandra, `'» Abjects» examines the vulnerability of the real world in the digital age», i - D, September Sherwin, Skye, «10 Artists You Should Meet», 10 Magazine, August Nettel, Michaela, «Yuri Pattison: «There needs to be more knowledge sharing within the London art community», www.a-n.co.uk, July van der Heide, Bart, «Yuri Pattison», interview, Mousse # 49, June 2015 Bondi de Antoni, Alexandra, «cosmos carl», i - D, June Pattison, Yuri, «The Crypt of Civilization 1940 — 2015 ---------8113», commission, Art Papers, May Joel, Dean, «Morphing Overnight», this is tomorrow, April Guggenheim, Katie, Sleek Magazine No. 45, Spring 2014 Khan, Nora N., «Free Traveller at Cell Project Space», DIS Magazine, November Grace, Banks, «Installations, installations and... installations», Elephant Frieze Review, October Dixon, Tim, «Yuri Pattison: Free Traveller» review, this is tomorrow, October Thorpe, Harriet, «Yuri Pattison: Free Traveller», Studio International, October Benson, Louise, «Free Traveller» interview, POST Matter, www.postmatter.com, September Hothi, Ajay, «Lonely Arts», Art Monthly # 379, September Rochat, Jeanne - Salomé, «colocation, time displacement» feature, Novembre Magazine # 9, Spring 2014 Archey, Karen, «RELiable COMmunications» cover feature & interview, Art Papers, May / June Robertson, Adi, «Reliable Communications» turns Soviet message boards into online art», The Verge, www.theverge.com, March Luke, Ben, «Web of Intrigue», The Art Newspaper Number 254, February Kay, Jean, «An Interview with Yuri Pattison», www.aqnb.com, January 2013 Davidson, Laura, «Traveling Through Layers: Yuri Pattison and his Leakers», www.rhizome.com, Jan 2012 Davies - Crook, Susanna, Yuri Pattison: Faraday Cage, interview, www.dazeddigital.com, March Nairne, Eleanor, «Yuri Pattison» focal - plane review, Frieze # 145, March 2011 Bailey, Stephanie, «Yuri Pattison, focal - plane» critic's pick, Artforum, December Symester, Chantelle, «Yuri Pattison: Focal - Plane» interview, www.dazeddigital.Installations, installations and... installations», Elephant Frieze Review, October Dixon, Tim, «Yuri Pattison: Free Traveller» review, this is tomorrow, October Thorpe, Harriet, «Yuri Pattison: Free Traveller», Studio International, October Benson, Louise, «Free Traveller» interview, POST Matter, www.postmatter.com, September Hothi, Ajay, «Lonely Arts», Art Monthly # 379, September Rochat, Jeanne - Salomé, «colocation, time displacement» feature, Novembre Magazine # 9, Spring 2014 Archey, Karen, «RELiable COMmunications» cover feature & interview, Art Papers, May / June Robertson, Adi, «Reliable Communications» turns Soviet message boards into online art», The Verge, www.theverge.com, March Luke, Ben, «Web of Intrigue», The Art Newspaper Number 254, February Kay, Jean, «An Interview with Yuri Pattison», www.aqnb.com, January 2013 Davidson, Laura, «Traveling Through Layers: Yuri Pattison and his Leakers», www.rhizome.com, Jan 2012 Davies - Crook, Susanna, Yuri Pattison: Faraday Cage, interview, www.dazeddigital.com, March Nairne, Eleanor, «Yuri Pattison» focal - plane review, Frieze # 145, March 2011 Bailey, Stephanie, «Yuri Pattison, focal - plane» critic's pick, Artforum, December Symester, Chantelle, «Yuri Pattison: Focal - Plane» interview, www.dazeddigital.installations and... installations», Elephant Frieze Review, October Dixon, Tim, «Yuri Pattison: Free Traveller» review, this is tomorrow, October Thorpe, Harriet, «Yuri Pattison: Free Traveller», Studio International, October Benson, Louise, «Free Traveller» interview, POST Matter, www.postmatter.com, September Hothi, Ajay, «Lonely Arts», Art Monthly # 379, September Rochat, Jeanne - Salomé, «colocation, time displacement» feature, Novembre Magazine # 9, Spring 2014 Archey, Karen, «RELiable COMmunications» cover feature & interview, Art Papers, May / June Robertson, Adi, «Reliable Communications» turns Soviet message boards into online art», The Verge, www.theverge.com, March Luke, Ben, «Web of Intrigue», The Art Newspaper Number 254, February Kay, Jean, «An Interview with Yuri Pattison», www.aqnb.com, January 2013 Davidson, Laura, «Traveling Through Layers: Yuri Pattison and his Leakers», www.rhizome.com, Jan 2012 Davies - Crook, Susanna, Yuri Pattison: Faraday Cage, interview, www.dazeddigital.com, March Nairne, Eleanor, «Yuri Pattison» focal - plane review, Frieze # 145, March 2011 Bailey, Stephanie, «Yuri Pattison, focal - plane» critic's pick, Artforum, December Symester, Chantelle, «Yuri Pattison: Focal - Plane» interview, www.dazeddigital.installations», Elephant Frieze Review, October Dixon, Tim, «Yuri Pattison: Free Traveller» review, this is tomorrow, October Thorpe, Harriet, «Yuri Pattison: Free Traveller», Studio International, October Benson, Louise, «Free Traveller» interview, POST Matter, www.postmatter.com, September Hothi, Ajay, «Lonely Arts», Art Monthly # 379, September Rochat, Jeanne - Salomé, «colocation, time displacement» feature, Novembre Magazine # 9, Spring 2014 Archey, Karen, «RELiable COMmunications» cover feature & interview, Art Papers, May / June Robertson, Adi, «Reliable Communications» turns Soviet message boards into online art», The Verge, www.theverge.com, March Luke, Ben, «Web of Intrigue», The Art Newspaper Number 254, February Kay, Jean, «An Interview with Yuri Pattison», www.aqnb.com, January 2013 Davidson, Laura, «Traveling Through Layers: Yuri Pattison and his Leakers», www.rhizome.com, Jan 2012 Davies - Crook, Susanna, Yuri Pattison: Faraday Cage, interview, www.dazeddigital.com, March Nairne, Eleanor, «Yuri Pattison» focal - plane review, Frieze # 145, March 2011 Bailey, Stephanie, «Yuri Pattison, focal - plane» critic's pick, Artforum, December Symester, Chantelle, «Yuri Pattison: Focal - Plane» interview, www.dazeddigital.com, December

For the last exhibition in Alembic, a specially remade video installation by queer filmmaker and networker Shu Lea Cheang will be presented alongside a new commission by artist and practice - based researcher Annabelle Craven - Jones.

AWARDS: 5 Cash Prizes of $ 7,000: for winning artists, one for each section 4 Art Residencies: Technymon ARTresidency — Mumbai; Glass School Abate Zanetti — Venice; Art Stays — Slovenia; iaab — Basel 1 Business for Art: development of an art project with the winner of the virtual art section, in collaboration with the company FOPEgioelli 2 Exhibitions: OPEN, International Exhibition of Sculptures and Installations of Venice; Romanian Cultural Institute of Venice, a space for the diffusion of Romanian art and culture in Italy 21 Personal Exhibitions in International Galleries: Arte Laguna Prize has created a network of international galleries to introduce the artists to the Art market.

The exhibition features a networked video installation, prints rendered from augmented reality, a room wallpapered in embossed textures derived from CGI techniques, gold dust that Holberton panned from the California landscape, mosquitoes cultivated from the artist's blood, and mannequins salvaged from the American Apparel liquidation.

Given the current social context, in which everyone constantly sees and shares images of themselves on different networks, Carvalhosa's installation triggers a strange feeling within the viewer, who instantly pauses and enters something of a «non-place,» where the lack of narrative can be disconcerting.

Showing here in London for the first time in a public institution, Carlos Garaicoa reflects upon «the city» — its limitations, potential and possibilities — as a physical infrastructure, social network and political space in this exhibition comprised of large - scale installations, sculptures, video and photography.

Since her MA in Media Arts Practice at Westminster University (2001), she has created installations that combine textile media with texts and networked technology.

The installation presents their shared interest in the etymology and associative potential of words and phrases, considering how networks of language shape the ways we think and, by extension, the worlds we inhabit.

I think there is still a role for individual curators or even «show producers» but they need to work in a more individualised, specialist way within a networked «virtual» paradigm...» To be more precise, I still see value in public exhibitions and installations but not produced, promoted or managed in the way they are today — the same way they have been for a hundred and fifty years — by dithering, technologically inept, socially aspirational and unadventurous commercial «bricks and mortar» gallerists.

In her solo exhibition at The Figge Art Museum, Yuriko Yamaguchi pairs recent and earlier work in a comprehensive survey showcasing multimedia installations and sculptures constructed from hand - cast resin connected by networks of steel, copper, and brass wirIn her solo exhibition at The Figge Art Museum, Yuriko Yamaguchi pairs recent and earlier work in a comprehensive survey showcasing multimedia installations and sculptures constructed from hand - cast resin connected by networks of steel, copper, and brass wirin a comprehensive survey showcasing multimedia installations and sculptures constructed from hand - cast resin connected by networks of steel, copper, and brass wire.

(a quote from» Orientations» by Odysseas Elytis, translated from Greek by Nikos Sarris & Jeffrey Carson) Dimitra Skandali presents a site - specific installation of found, natural and manmade materials exploring the desire for connectivity, the fragility of networks and the effects of displacement in relationship to the body.

Snow's most recent projects include Portal 1: A Rippling Space, an interactive sound and video installation presented at the 2015 New Interfaces for Musical Expression Conference; Wash: Awake, a generative installation for computer sound and projection mapping on a 40 «x20» hanging sculpture by artist Jamey Grimes; Arcanum: Memories Cryptic — a series of works for piano solo commissioned by Katalin Lukács; and Singing Sweetly from a Spider's Web — an interactive sound installation in which participants» voices are transformed and re-presented as harmonic content in a network of sound synthesis.

Dimitra Skandali's site - specific installation of found, natural and manmade materials exploring the desire for connectivity, the fragility of networks and the effects of displacement in relationship to the body.

Working across video, writing, installation and other new media, the interdisciplinary artist explores «dialectics formalized in Black radicalism and organized labor into a context of networked virtual life» and seeks to reveal dynamics at play and embedded in technology and contemporary culture.

NARI WARD Diamond Gym: Action Network, 2008 Installation in the Battle Ground Baptist Church, New Orleans

They took it even further, hanging blackout curtains on the fourth wall and creating a site - specific installation that looks and acts very futuristic, with 47 downward - facing LCD monitors networked together, displaying one image, mining text from headline news and interacting with movement in the space.

Daniel Göttin's installation Network 42 (2008) is also still on view in the café at P.S. 1 Contemporary Art Center / A Museum of Modern Art Affiliate in Long Island City, NY.

Rhunhattan, Beatrice Glow's installation in Wave Hill's Sunroom Project Space, not only ruminates on a particular colonial history, but also brings into question the many trajectories which continue to develop out of complex networks of globalization.

Recent projects and exhibitions include Trigger: Gender as a Tool and as a Weapon (2017) at the New Museum of Contemporary Art, New York; Psychic Friends Network (2016) at Tate Exchange, Tate Modern, London; The Waiting Room (2016) at the New Museum of Contemporary Art, New York; The Free People's Medical Clinic (2014), a project commissioned by Creative Time; inHarlem, a public installation presented by The Studio Museum in Harlem at Marcus Garvey Park, New York; and a solo exhibition at the Hammer Museum, Los Angeles.

In 1972, pioneering feminist artists Judy Chicago and Miriam Schapiro transformed a derelict Hollywood mansion into «Womanhouse,» a network of exhibitions, installations and performances by a vastly underrepresented subculture of American artists: women.

Her multidisciplinary practice includes photographic and sculptural - based works, video, installation, performative and participatory works, text / audioworks, and printed projects, and is presented in diverse contexts such as public sites, social network platforms, and traditional galleries and institutions.

Kim Rice's 11» × 19» installation White Side will be exhibited this November at the Harry Wood Gallery in Tempe, Arizona, as part of the Fiber Arts Network's 2016 catalog show It Took A While.

The plant, which would be connected to the network of the island's power utility Puerto Rico Electric Power Authority (PREPA), is to be located in Naguabo and include the installation of a 30 MWh storage system.

Those interested in reviewing real offers to install solar, can create an account to receive multiple online solar quotes from a network of vetted installation companies.

From National Geographic: This is much more than an academic exercise in a region that's home to one of the largest networks of hydroelectric dams in the United States, a recent boom in wind installations, and state mandates for renewables on the grid.