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Internationally renowned art expert Klaus Ottmann will oversee the upcoming exhibition which is held annually in Limerick. New York-based independent curator and academic Mr Ottmann will have responsibility for deciding which works appear in the upcoming exhibition. The annual exhibition runs at various venues across Limerick city from March 31st next.

TV, or not TV? That is the question, with apologies to Hamlet, after several visits to SITE Santa Fe's Sixth International Biennial, \"Still Points of the Turning World,\" curated by scholar, critic, and teacher Klaus Ottmann. Maybe it's because he's German, but Ottmann has pulled an extremely clever curatorial maneuver and outflanked everyone -- artists, viewers, and critics -- by offering no overarching curatorial theme or conceit around which to organize his 12 artists and trio of Norwegian sound composers, or help us arrange our expectations and thoughts. In the Pre-TV Consciousness camp you have Robert Grosvenor (b. 1937, U.S.) with an ironic sculptural grouping, \"Quadrum,\" consisting of a pop-ish, cut-out, empty, blue, dialogue balloon (think Lichtenstein) set on an ugly brown base, flanked by two sets of four center-cut, steel cylinders that resemble rusty speaker columns. Totally mute. Jennifer Bartlett (b. 1941, U.S.) is still doing her multi-colored, decorated and decorative dot-texts on square steel panels. These tell rather dull, though beautifully ornamented, stories of a dream of Prince Charles, a book she bought by the German novelist Thomas Bernhard, the purple corridor in a hospital. In a real Ed Ruscha-meets-Nauman moment, there is a single panel with the phrase, \"This is the exact spot where those who will live meet those who will die.\" Wolfgang Laib (b. 1950, Germany) has made timeless, familiar staircase/ziggurat forms pigmented with exotic resins and woods, referring to everything from nature, divinity and infinity to absurdity and the myth of Sisyphus. Cristina Iglesias (b. 1956, Spain) is slightly over the cutoff, but she's Pre-TV by virtue of her text-heavy maze of high screens made of clay and ornamented with letters. You can make out some narrative as you walk and light passes through the structures, but it's all shadow and indecipherable. Peter Doig (b. 1959, Scotland) is also over the line, but he does that most romantic and oldfashioned of artistic activities -- he paints. These are trippy, watery (he lives in Trinidad) and seem to be melting before our eyes. A huge blue canvas, \"Purple Jesus (Black Rainbow),\" looks very like something from Richard Diebenkorn's \"Ocean Park\" series.

Robert Grosvenor (lives and works in New York and Florida) -- Unlike mainstream Minimalism, Grosvenor's sculptures dispense with reductivism and intellectual gravity. His objects are playful or mischievously thoughtful. Cristina Iglesias (Spain) -- Iglesias' architectural installations and invented spaces are defined by an acute sense of place and time. She is interested in manipulation of perception and artifice. Wolfgang Laib (Germany) -- Since the 1970s, Laib has been creating objects and installations with such elemental materials as pollen, stones, marble, milk, beeswax, rice and natural resin. Jonathan Meese (Germany) -- Meese is known for his liturgical performances and his Dionysian installations of paintings and sculptures creating complex worlds of closely knit systems.

By reducing the number of artists invited to previous biennials (53 exhibited last year) and giving each his or her own space, [Klaus Ottmann] hopes to encourage immediate experiences with the art, even if it's with just one or two pieces. The idea, Ottmann suggested, is to question notions about how art is presented.

[Klaus Ottmann], a New York-based independent curator, critic, teacher and author, said his show would probably include no more than 14 artists, far fewer than the 53 artists who exhibited works in last year's biennial. Paintings, sculpture, installations, photography and performance art will all be included, Ottmann said. The show also will be \"as international as possible\" and will include a mix of emerging and established artists.

[Klaus Ottmann] has written extensively for numerous art publications and has penned a number of books, including \"The Essential Mark Rothko,\" \"Wolfgang Laib: A Retrospective\" and \"The Essential Michelangelo.\" Ottmann is also a former curator of exhibitions at Wesleyan University's Ezra and Cecile Zilkha Gallery in Middletown, Conn., and at the Federation of Arts in New York, according to SITE's news release. He has organized exhibitions at Musee d'Art Moderne et Contemporain in Strasbourg, France; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; Seattle's Henry Art Gallery; the Dallas Museum of Art and other institutions.

[Klaus Ottmann] has written extensively for numerous art publications and has penned a number of books, including \"The Essential Mark Rothko,\" \"Wolfgang Laib: A Retrospective\" and \"The Essential Michelangelo.\" Ottmann is also a former curator of exhibitions at Wesleyan University's Ezra and Cecile Zilkha Gallery in Middletown, Conn., and at the Federation of Arts in New York, according to SITE's news release. He has organized exhibitions at Musee d'Art Moderne et Contemporain in Strasbourg, France; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; Seattle's Henry Art Gallery; the Dallas Museum of Art and other institutions.

\"History of the Universe\" is also the title of Ms. [Jennifer Bartlett]'s autobiographical novel, published in 1985. Composing a big picture in a parallel manner to \"Rhapsody,\" her memories and fictions drift into stream-of-consciousness inventories like: \"The skin on the soles of my feet is rough, I am inclined to alcohol, anxiety, nervous stomach, moods, tentative optimism and inflammatory infections. I have been analyzed unsuccessfully though we both tried; the same is true of marriage.\" Another show, on view through Saturday in Philadelphia at Locks Gallery, which represents her, is \"Jennifer Bartlett: Chaos Theory (1971-2013),\" devoted to her abstract dot paintings based on systems of counting and color variations. \"I always like when I postulate something and I don't know what it will look like,\" Ms. Bartlett said. \"It's boring when I know.\" In one of her earliest pieces, \"Squaring: 2; 4; 16; 256; 65,536,\" she used black dots on her square plates to map the results of multiplying each of the numbers by itself -- the last equation of 256-by-256 taking 29 plates to illustrate. \"I was interested in how quickly the number got big.\" Her 372-plate installation, \"Recitative,\" at the Pace Gallery in New York in 2011, showed her ability to riff operatically on a theme, introducing each of the primary and secondary colors and playing them out in different combinations and sizes using dots, squiggles, diagonals, plaids, stripes, cross-hatches and loose brush strokes. At the end, she undermined the right-angled structure of the composition with a completely free-form black line painted across 24 plates scattered on the wall, trailing off like an unfinished sentence.

[Matt Suhre] does his \"writing with light\" (literally, \"photo\" + \"graphy\") the old-fashioned way -- a 35mm camera with negative film, followed by a handmade silver gelatin print. You can't fake the warm feeling of blackand-white prints made with silver. Suhre's territory is the street, for my money the happiest hunting ground for the photographer; that is, out among the everydayness of everyday experience. Whether Suhre is on the street in Rome in front of the Colosseum, or Florence (a great shot of Ponte Vecchio and tour boat on the Arno, perhaps from the Ponte di Santa Trinita just up river), the Jardin des Tuilleries in Paris with a statue of Neptune and a few chairs arranged beneath, or even on a golf course with a slightly sinister, overexposed and backlit golf cart, Suhre has a knack for finding an instant that is not fleeting, but somehow is there before and after the shutter flickers, but still impossible to define with certainty -- as opposed to the \"decisive moments\" found in almost every shot by Henri Cartier-Bresson, say. Santa Fe photographer Matt Suhre captured an \"indecisive moment\" beneath the statue of Neptune in the Jardin des Tuilleries in Paris ; [Klaus Ottmann]; Left, Suhre sees and shoots the strange and familiar everyday miracles of life, as in his slightly sinister, overexposed and backlit \"Golf Cart \"; Matt Suhre's candid snapshots of people like the \"Disgruntled Line Cook\" above, capture an essay or short story in 1/250th of a second

  [Klaus Ottmann]: A show in Limerick, Ireland -- a big, annual survey of contemporary art called ev+a. Unlike the biennial, it's open to artists who apply, and then I make selections. As it happens, Rosa Martinez, who did the biennial in Santa Fe [in 1999], is a previous curator there as well. Ottmann: [Cristina Iglesias] ended up with a much bigger project than she originally thought, which created some logistical problems, but she was very organized. Others like Patty Chang and Wangechi Mutu were much more vague, and it was not clear until very late what they were really going to do, and that made some people at SITE very nervous. I expected that with Patty; she and Wolfgang Laib are the only ones in the biennial I had worked with before. Ottmann: Only a few got money: the performance artists [Jonathan Meese] and Patty Chang and Thorns Ltd. The Thorns work was a complex commission, and they had to quit their jobs for a while, so they were paid a compensation. With the other artists it was just the cost of shipping, which is quite substantial.