In The Guardian Adrian Searle reports that the Glasgow International Festival, founded in 2004, is slated to become a regular biennial. “Building on its low-budget, do-it-yourself approach, each edition has been better than the last. The project has slowly expanded, occupying not just established venues but studios and abandoned and derelict buildings around the city. It runs until April 27, but some projects will continue into the summer. There are shows, performances and concerts all over town. Glasgow has the most developed arts scene outside London, and many empty spaces. Successful local artists tend to stay (even if, like Douglas Gordon, they spend protracted periods in New York or Berlin), and the city supports a number of commercial galleries – The Modern Institute, Sorcha Dallas, the improbably named Mary Mary, as well as public sector spaces and museums.” Searle gives a shout to Tyrolean painter Ernst Caramelle, who has a painted installation at Mary Mary. “As well as making small, discrete paintings, Caramelle paints directly on the wall. Blocks of bright translucent colour slide over lintels. Black rectangles and rhomboids run along the bottom of walls, or complicate corners and doorways. He twists the way we see space, but his art is more than an optical game. It is understated and elusive. Caramelle deserves to be better known in the UK: I can imagine him making a beautiful show at Camden Arts Centre, or the Icon in Birmingham.” Read more.