Chris Marker, one of the Left Bank directors of the '50s and '60s, worked when French film was known for its Cahiers du Cinema graduates, while his part in multi-episodic collaboration, Loin du Vietnam (1967) and the formation of SLON (Societe de Lancement des Oeuvres Nouvelles), saw Marker's political consciousness come into play, most notoriously in 1962 with La Jetee. Marker has been credited with redefining the documentary genre and pioneering the cinematic essay, while his illusiveness is emphasised through his cinema with faceless commentary and a not-quite-there view on humanity. The film imbues the viewer with a close empathy for the subject matter, while associations with the "other" become confused in response to Les Statues meurent aussi -- his collaboration with Alain Resnais. With post-colonial global politics paradoxically using the notions of the West to justify imperial economic interests and acting out a self-fulfilling continuation of human rights activities, this work -- particularly by having been banned -- highlights this very paradoxical relationship. It presents a study of African art and its weakening through contact with Western civilisation. Hence it acts as an open attack on global culture, while presenting the stream of activism and conflict with society prevalent in the filmmakers' practice.

NB: Les Statues meurent aussi (29 mins) is screened at 6:30pm followed by a debate with Sophie Bessis (historian, journalist and author of Western Supremacy: The Triumph Of An Idea?) and Professor Edwin Brett. Preceded by an 8pm screening of Sans Soleil (100 mins). This event is part of the Mosaiques 2005 festival (runs till 30/06).

A screening of films by Bas Jan Ader is an event not to be missed if you want to take a serious peek into the psyche and mind of the visionary Dutch photographer, filmmaker and performance artist, who disappeared at sea in 1975. I'm Too Sad To Tell You (1971), Fall II (1970), Amsterdam (1970) and Untitled (Tea Party) (1972) are on show at Tate Modern, at an event that coincides with the exhibition Open Systems, a survey of the way artists rethought the object in the '70s. Ader, as did his contemporary peer Los Angeles-based artists, Ed Ruscha, Gordon Matta-Clark, Chris Burden and Robert Smithson, anxiously sought to explore the boundaries between art and life, usually using his body as his vehicle. His films document his performances of self-orchestrated, staged mishaps (in Fall II he drives his bicycle off a bridge and into a river), or the exploration of his own body and soul (I'm Too Sad to Tell You). An evening of melancholic vision and highly influential art.

NB: catch a repeat screening of these four films on 06/07. Open Systems runs till 18/09.

Sage Francis claims he began rapping when he was eight years old and over 20 years later his unique brand of poetically emphatic/politically infused buzz kill continues to impress. Sage finally arrives back in the UK for the first time since showcasing his rhymes at last year's dedbeat festival. This time he is touring in promotion of the critically acclaimed A Healthy Distrust, arguably his most consistent and varied collection yet. Whilst previous releases were released by Berkeley's Anticon collective, Sage has recently joined seminal punk/increasingly eclectic label Epitaph for this latest release. The first single, "Sea Lion", is remarkably co-written and features a hypnotic melody courtesy of lo-fi legend Will Oldham. Elsewhere his writing is typically polemic: opening with manifesto track "The Buzz Kill", it peaks in the highly politicised "Slow Down Gandhi", concluding with a heartfelt tribute to Johnny Cash, "Jah Didn't Kill Johnny". Whilst previous gigs have featured no more than Sage and taped beats, he has drafted in "a small band backing me up -- Tom Inhaler on guitar and Divinci from Sol.iLLaquists of Sound playing two MPCs". Expect clattering beats, explosive deliveries, complex rhyme schemes and the privilege of seeing the most essential underground hip hop artist in an intimate environment.

Waking up, you switch on your Foscarini light, step into your Philippe Starck slippers, and sip your coffee from your Taka Kosaka cup on your Mariani sofa. Don't fret, innovative design is accessible to everyone at the New Designers show, now in its 20th year, offering up dynamic work fresh from young minds and nimble hands. With ceramics, glass, textiles, fashion, illustration and architecture on display, it's an opportunity to explore the current flow of UK creativity. Picks? Check Ione Rucquoi for her fluid botany inspired fabrics and textiles, Susan Bradley for her remarkable outdoor wallpaper, and Edith Garcia for her intensely unsettling and cultish bestial ceramics. Miss this year and sigh in rhythm to the sound of your creaking second hand sofa.

NB: New Designers Part 1 runs from 30/06 to 03/07 and New Designers Part 2 (covering another range of design) runs from 07/07 to 10/07. Vote in the New Designers' Iconic Design Poll.

There is something in the post-war Teuton psyche that is compelled to wrestle inexorably with the horrendous legacy of the Third Reich, and that something finds its most monumental, dense and poetic expression in the work of German juggernaut Anselm Kiefer. A phenomenal collagist who incorporates all manner of organic matter -- grit, sand, seeds, straw... -- into thickly impastoed and highly worked painted surfaces, Kiefer's is a profoundly indigenous art. This show heralds a shift of focus for the artist then, as the three paintings and other sculptural and graphic works on show at White Cube were born not out of the Holocaust, but emerged from Kiefer's long-held fascination with the work of Russian Cubo-Futurist Velimir Khlebnikov. For the incognoscenti, Khlebnikov was a highly inventive and experimental thinker who spent his short life seeking to make sense of the rhythms of history and the cosmos by formulating analytical systems based on arcane mathematical calculations. In a characteristic display of historical histrionics, Kiefer casts Khlebnikov's ideas in the theatre of the sea battle in these turbulent, turbid and turgid works. Let it be known that the man gives good gravitas.

NB: this exhibition is conceived in two phases: Part I Fuer Chlebnikov runs till 30/07 and Part II Von den Verlorenen geruehrt, die der Glaube nicht trug, erwachen die Trommeln im Fluss runs from 03/08 till 27/08.

Giveaway: we have two show catalogues to give away. They'll go to two randomly picked Flashers who can tell us in which country his studio is located.

Since the release of his first solo album the electronic scatterbrained Muddlin' Gear on Warp, off-kilter soul vocalist extraordinaire, Jamie Lidell, has been wowing audiences with his truly inspired one-man shows consisting of live sampling technology, beatbox acrobatics, electronic gizmos and good old-fashioned showmanship. Now with his first solo album in five years, Multiply, Lidell is mixing spaceage pop, soul and funk harmonies with broken afro-beats and post-disco doo-wop stylings. Lidell unveils a classic R&B album -- a warped soundtrack to an imaginary journey taken by a digi-funk'd Marvin Gaye, flying the electro "Rockit" of Herbie Hancock with Prince at the helm. Lidells' live performance promises to be a scintillating and exhilarating display of demented musical genius.

NB: this event is brought to you by Knom and tickets are available in advance from wegottickets.com.

Films about musicians thrive on animosity -- without tension between bands or bandmates there's nothing to shoot through the drudge of touring, the self-indulgent boredom of hedonism, watching others debauch themselves, and the momentary crystallisation of live performance (which is stripped of most of its life when transferred to the screen). That is why Ondy Timoner's DIG! is such a success. Even if you don't care two hoots about the bands at the centre of the documentary -- arch Portland go-getters The Dandy Warhols and The Brian Jonestown Massacre -- you can revel in the friendly tensions and rivalries between the two frontmen, Courtney Taylor of the Warhols (a relatively well-balanced and driven man who understands the compromise between creative freedom and success) and the Massacre's Anton Newcombe (a genius, the man who Taylor aspires to be, and a volatile, uncompromising loner). Both of them seem dead set to trump each other in the performance, recognition, credibility and odious little as*hole stakes and this is what makes the movie so compelling -- that and the fact that, shot over seven years and whittled down from 1,500 hours of footage, it's a perfect distillation of the frustrations involved in trying to make it big.

NB: DIG! is released in London on 01/07.

Forget about the efforts of label bosses and IDM producers to try and popularise grime among the x-large brigade for one night and head down to Fabric for the real deal. Igniting the stage this evening are the forerunners of this urgent, vibrant sound -- music made by smart, drunk, angry youngsters -- in the form of Roll Deep (the crew that spawned Dizzee Rascal and Wiley) and astonishing young rapper Lady Sovereign, a tiny teenager from Wembley whose incendiary rhymes and drawling delivery have set her head and shoulders above her peers. They're all joined by turntable supergroup the Scratch Perverts -- who recently have been mangling the likes of Squarepusher, The White Stripes and Radiohead into their nimble-fingered scratch-a-thons -- and Hackney's Klashnekoff, a superb and criminally underrated rapper who, in an ideal world, would be the rightful heir to the British hip-hop throne, successor to the likes of Skinnyman, Braintax and Rodney P. Drum and bass in Room 2 comes from the likes of London Elektricity and High Contrast -- liquid funk and rolling beats all the way with these chaps -- and breaks heads can saunter over to the room 3 to catch Breakspoll winners and elder statesmen Krafty Kuts and Rennie Pilgrem spinning some mid-tempo bassline goodness.

No more heroes anymore... Daft Punk forgot the tunes, poor Norman can't even get in Heat anymore and Basement Jaxx are three seasons away from the cruise ships, Kylie's understudies or not. Dance music's big knobs are popping out big jobs. As ever, quality can be found on the margins: already this year, LCD Soundsystem, Jamie Lidell, M.I.A. and Roisin Murphy have all dropped great albums and you can now add Cut Copy and The Juan Maclean to the list. Cut Copy's Bright Like Neon Love is a timely reminder of why electro pop cocked your ear in the first place. With the formula of tunes + bass - irony = winner it's produced by Phillipe Zdar, who locates the groove like a pig snuffles truffles. The Juan Maclean's Less Than Human is similarly exciting, being a potted history of the better half of dance music. Melancholic bleeps and robot ballads from a man who spent the early '90s in Sub Pop's wildly ahead of their time electro-punk outfit Six Finger Satellite.

NB: Cut Copy also play Cargo on Sat 02/07.

It's a wonder that Lucia Nogueira (1940-98) had a career in this country. Her Arte Povera sculptures were a combination of rough magic and visual wit, thus not quite the usual poetry that English art expects. Objects, selected for their form, connect or elide with each other to release meaning, things dangle, hang or are blocked... All somewhat like the easy touch of Rauschenberg's when he first arrived at Captiva Island. Remarkably, her drawings have never been exhibited, hence the Drawing Room is presenting a selection and like her wit these works are both delicate and eccentric. Where the more abstract pieces can be compared to Mary Heilman's whimsy, the figurative examples have a humour that is almost slapstick. A one-armed Pinocchio figure seems to have a longer triple-jointed arm, a drip hints at vampires teeth, while "simple" drawings of chairs seem to have ink blots for seats. Towards the end when her illness inhibited her drawing hand, she practised with the other, resulting in Eva Hesse-like repetitions albeit of staples and buttons (?!). In general these drawings bring to mind the descriptive ease and materiality of Joseph Beuys, and though seemingly "quieter" for a Drawing Room show, the sound of her ideas are far from soft.

NB: runs till 10/07. Her short film Smoke is also being screened continously.

The first film in the National Gallery's Horses Galore! film season is John Huston's uncompromisingly dark The Misfits. Notorious for being Clark Gable and Marilyn Monroe's last film before their deaths, the actors' troubled personal lives spill out into their characters with astonishing frankness. Scripted by Arthur Miller, it is a story about three outsiders struggling to live on their own terms away from society in the Nevada desert. Gable plays Gay Langland, an aging cowboy trying to win the heart of alluring but deeply depressed Roslyn (Monroe), as his best friend and nemesis, Elli Wallach, does his best to meddle with their relationship. The cast and crew's personality clashes off the set may be what the film is best known for, however it is also an unflinching exploration of the savage relationship between poor cowboys, wild horses and women, and all the metaphors that go with it. This screening will be introduced by film scholar and author Edward Buscombe.

NB: The Misfits is part of the National Gallery's Horses Galore! film season (runs from 02/07 till 03/09), programmed in conjunction with the Stubbs And The Horse exhibition (runs from 29/06 till 25/09).

So summer's here and much as those first solar rays transform London from the grey overcrowded mass it is into the sparkling vibrant metropolis it wants to be, its music scene changes too. Wintry grimey sounds warm to the sun's touch, Brazilian beats, Caribbean rhythms and an optimistic vibe mutates the city's musical DNA. Where pasty young men with poor complexions and obscure band t-shirts would huddle together for warmth and listen to claustrophobic electro, they now hide from the light to listen to sun-kissed electronica and watch projections of the green fields of Albion they'd frolic in if only their hayfever wasn't playing up. This Sunday sees a flock of pastorally inclined artists in Whitechapel for an evening of sublime folktronica and psychedelic whimsy. Live acts include the lush ISAN, Gavouna, Pete Moss, Happy Medium and LJ Kruzer, whose debut album has established itself as an essential ambient purchase. Filling the gaps with sunny harmonics, free jazz and wonky electronics are DJs John Mark, Pedro, Theodore, Simon Manilla and Stayhome. And as the British Summer isn't always reliable the venue should at least ensure no chance of the audience being washed away or the toilets bobbing downstream in Shoreditch.

New York based hip-hop artist, actor and poet Saul Williams offers his unique brand of poetry and hip-hop within the historic confines of one of the oldest live venues in London. Although Williams came to prominence in his appearance in the independent film Slam, since his Rick Rubin produced 2001 debut Amethyst Rock Star drew massive critical acclaim, his music has been his main focus. Featuring beats provided by DJ Krush and Roni Size, it is instantly accessible and inspiring, characterised by a rhetorical energy rarely found within any genre of music. He returned recently with the simply titled Saul Williams, released on the Fader label. Although more experimental in its approach, it is in his own words: "Something that captured the authoritative cool of hip-hop, the playful angst of rock and roll, the raw emotional torment of emo and the f*ck offness of punk." Whilst it is easy to quote hybridised descriptions to set a context, it seems inadequate to offer, within words, a glimpse of what to expect. Expect more than just hip-hop, politics or poetry; rather, it is a genuine opportunity to witness a future icon, a genuine free spirit, in an intimate environment.

Rirkrit Tiravanija's work has always been about participation; eating, speaking, meeting become the building blocks of his "art". On Mon 04/07, you Flashers have an opportunity to take part in a special preview of his show at the Serpentine. Renowned for his interactive cooking events, Tiravanija, based between NYC, Berlin and Chiang Mai, in his first London solo show, hot from his Guggenheim/ Hugo Boss television broadcasting station, is creating a radio studio with his very own programme (in collaboration with Resonance FM) as well as two full-scale replicas of his New York apartment. Did you ever wonder how artists lived? Well here's your chance, not to mention the opportunity to take a shower or have lunch at his place! Chris Burden created a similar situation (in Portland, 1976) but his emphasis was to turn himself into a zoo animal to be watched, while Rirkrit's -- in his own words -- is "no vitrines, no museums, no artists, just a lot of people. So, it has never been about making, just more living, less working, less object, more kitchenware." Wondering where the art really is? Well, find out when this pragmatic utopianist will be encountering a utopia-sceptic Liam Gillick to discuss his work (Tue 05/04).

NB: Rirkrit Tiravanija is at the Serpentine from 05/07 till 21/08. Also at the Serpentine is the recently unveiled Summer Pavilion 2005 by Alvaro Siza and Eduardo Souto de Moura (till 02/10). Various events have been programmed in conjunction with the pavilion. For all details click here.

Preview: Flashers get a sneak preview of Rirkrit Tiranavija's exhibition on Mon 04/07 (from 10am - 6pm). This event takes place a day before the show opens to the general public. So on Mon show up, take a shower, cook some food and speak to the man!

Cinematographers, or DPs (directors of photography) as they're known in the trade, are the midwives of film. They bring to life the director's vision, for some they're collaborators whose own visual nous is a vital ingredient, while for the very few it is another freewheeling eye. With the latter the camera itself becomes another character as vital to the story as the director's story. Needless to say Flash fave Christopher Doyle, or Du Ke Feng or To Ho Fung as he's known in his adopted homeland Hong Kong, is more than such. He is the rare auteur lensman, notorious as much for his wild-at-heart lifestyle as his wild-at-play cinematography... We are most familiar with his numerous collaborations with Wong Kar-wai's oeuvre than his "gentler" work for Hollywood (The Quiet American, Rabbit Proof Fence and Liberty Heights), though Zhang Yimou's Hero must be his most "mainstream" effort. A sailor before acquiring an 8mm camera by chance, this Australian has demonstrated again and again the jazz-like ease in which his hand and eye allow stories to unfold -- visually -- that would put most ER or NYPD Blue or CSI DPs to shame. It is rare to find the bfi or, in fact, any film organisation putting on a series for a cinematographer. Now here's a chance to see a great one at play.

NB: this retrospective runs till 31/07. Check the NFT site for all details.

Perhaps with the American public reconsidering its feelings about Iraq, the coming 4th of July is one to really celebrate. Remember America not for its current rather strange, political climate but its wonderful contribution to culture: Abstract Expressionism and Minimalism, Warhol and Velvet Underground, not to mention all the kitsch to last a lifetime and both young Elvis and Fat Elvis... Now Joanna MacGregor is reminding us of a less "popular" but no less important aspect of the America cultural landscape, avant-garde music. John Cage, Morton Feldman and Conlon Nancarrow all come alive under her fingers. In cultural circles Cage -- with his Zen-like music of chance -- is probably the most renowned, but each has expanded our aural world, and hence our worlds in general, in different subtle ways. Now the ambitious and daring MacGregor -- with her mulitmedia collaborations -- is bringing this little bit of Americana to the City of London Festival. With so much rock and club music about, let her remind you of the other aural pleasure to be found within the works of these composers. And as she'll be performing in the Lloyd's building it's a rare opportunity to examine up close Richard Rogers' 1986 architectural gem. In our humble opinions this almost 20-year-old building kicks the Gherkin's "butt"! (This event is marked as "dress code: smart".)

NB: City of London Festival runs till 13/07. This event is a rare moment to get to know the various City of London collections and buildings so make sure you check out the site.

The ICA has instigated a series of events investigating the perceived gulf between the arts and science. Only "perceived" certainly, for in reality most disciplines rely so much on each other that there is no clear boundary. The radical philosopher, animal behaviourist and moralist Peter Singer, who famously argued for the UN's Declaration of Human Rights to be extended to great apes, comes to The Mall to lecture about the role of genome -- the complete DNA sequence that dictates an animal's hereditary traits -- in a human's notion of free will and his relationship with other species. Singer will then discuss his ideas with Julian Savulescu, Professor of Practical Ethics at Oxford University. In addition, running throughout the week, a working lab has been installed in the theatre, investigating the chromosome make-up of those who suffer from Specific Language Impairment, a condition that impedes the understanding of speech, with visitors being able to discuss the work with the scientists and help analyse the results.

NB: Genes Talking: A Live Laboratory Installation Sequencing DNA (a working lab) runs 04/07 till 18/07.

Ed Ruscha is cool, there's no doubt about that. How else could the current American representative at Venice have spent about 40 years making art out of such simple things as silhouettes, words and iconic structures, all via a laconic illustrative style. Image and text coalesce together to form the basis of his visual locutions, but unlike the intellectualised irony of Amikam Toren's Armchair Paintings or Warhol's American consumerist Pop, Ruscha stands between humour, irony and something more noir. Perhaps he's the art world's Bill Murray (not the youthful Stripes slacker, but the seen-too-much Lost In Translation/Steve Zizzou one). This summer it seems literally like an Ed triple bill; with shows in Venice, Rome, and our own RA (multiples), then at Gagosian in the autumn, we can only add to our saturation with this screening of his only brace of films from the '70s, one inspired by a Mason Williams story (starring Larry Bell even) and the other a day in the life of an automechanic. Running at a mere 30 minutes each, this is no Royal Road Test but maybe true "Sunshine Noir"!

NB: Premium and Miracle will be introduced by ex-academician Peter Blake. Ed Ruscha is representing the US at the Venice Biennale (ends 06/11), and his work is on view at Gagosian Rome (Largo Fontanella Borghese 19 -- till 06/08) and the Royal Academy summer show (till 15/08). He will also have a solo show at Gagosian's Britannia Street space in September.

Giveaway: we have two pairs of tickets to give away. They'll go to two randomly picked Flashers who can tell us where this quintessential sunshine artist is really from.

Richard Bernas and Almeida Opera, in conjunction with the curators of Tate Modern's summer exhibition Open Systems: Rethinking Art c.1970 and members of London's Music Projects, present a summer mini-festival of early minimalism that fans of the genre's seminal American composers will be hastening toward. It's donkey's years since London has been treated to Steve Reich's breakthrough work Four Organs -- a paradigm of Reich's moire approach to systems music (or "music as a gradual process", as he dubs it), as much about beautiful sonic collisions as graph paper geometrics. His earlier tape piece Come Out -- a huge influence on Brian Eno's ambient experiments -- also gets a rare outing, along with 1968's self-explanatory Pendulum Music and 1982's sublime Vermont Counterpoint. (Fri 08/07)

The next night is given over to Reich's contemporary (or follower, to be strictly accurate). As struggling mid-'60s New York composers, Reich and Glass ran a removal firm to fund their experiments, later falling out; Reich allegedly aggrieved that Glass never acknowledged the debt he owed his erstwhile compadre. All of which is of only passing interest to fans who will relish the chance to wallow in the performance of Glass' seminal, 80-minute-long Music with Changing Parts -- the first European performance of the piece for 35 years! (Sat 09/07)

NB: Steve Reich's music will be performed on Fri 08/07, Philip Glass' Music with Changing Parts on Sat 09/07.

Curzon Soho is hosting a series of workshops, screenings and events for short filmmakers of all ages and levels of experience. If you've got a project on the go, or are considering putting together a short film, the Short Film Summer School provides you with the skills you need to make it happen. A no-budget/low-budget workshop screens a series of films made for 50 quid or less, and provides a set of alternatives to the ever-daunting process of funding your masterpiece. Short film and video labels from across the UK will be representing, including Hoxton's Dazzle Films, the Documentary Filmmaker's Group (DFG) and Cinema 16, offering tips on submitting your work to festivals and labels, as well as screening some of their wares in a number of genres.

The Metropolitan Film School will provide a quick peek at the future of film and film making, and big names and old hands bring an invaluable kind of experience and professional savvy to the SFSS line-up. This is also an excellent opportunity to catch a masterclass with cutting edge Danish director Thomas Vinterberg of Dogme 95 fame who is encouraging filmmakers all over the world to take risks. From workshops that cover must-have technical knowledge to getting your film funded, screened and distributed, this four-day extravaganza offers a unique and extremely affordable opportunity to take advantage of the broad foundation of ability and experience provided by those taking part.

NB: Short Film Summer School runs from Wed 06/07 to Sat 09/07. Thomas Vinterberg's masterclass is held on Sat 09/07 at 2:15pm.

Born in Munich in 1964, Thomas Demand began as a sculptor and took up photography to record his ephemeral paper constructions. In 1993 he began making constructions for the sole purpose of photographing them. He studied at the Kunstakademie Duesseldorf and then at Goldsmiths. Recent solo exhibitions include Thomas Demand, The Museum of Modern Art, New York, the German Pavilion, 26th Sao Paulo Biennial and Phototrophy, Kunsthaus Bregenz.

Thomas Demand is currently exhibiting work at the Victoria Miro Gallery (till 02/07). For press release, click here (PDF).

To read the interview, click here.

Two musical conversations with Japanese innovator Ryuichi Sakamoto that suggest alternate models of how the conventional -- a piano -- and the contemporary -- a laptop computer -- can offer a new vision of composition. Back in 1978 Sakamoto formed the Japanese Kraftwerk, known wittily as the Yellow Magic Orchestra, producing glossy, futuristic electro pop, but is probably known best for scoring the movies Merry Christmas Mr Lawrence and The Last Emperor. Concentrating on orchestral and popular music since then (with a Japanese chart topper of solo piano works), he's currently hovering around the contemporary digital music scene, collaborating here with Austrian musician Christian Fennesz and Berlin-based artist Carsten Nicolai (aka Alva Noto).

Recorded live at Sala Santa Cecilia, Rome in 2004, Fennesz's unearthly meditations with Sakamoto offers up a densely woven, micro-processed soup of itchy atmospheric rumblings and eruptions, a laptop head to head, where it's impossible to locate the voice of each individual as they share in this ghostly improvisation. The wow and flutter of insectoid scratches and scrapings envelops and caresses, offering up a stark sonic soundscape of modernity. At another extreme, Nicolai, in his studio collaboration with Sakamoto (back in his more familiar position at the piano), suggests a gentle humanistic approach to collaboration. With echoes of Satie, piano clusters spring and nudge gently against atomised rhythms and pulses, harmonic interchanges born from the collision of floating melody with exacting beat measures. Compressed, clear and spacious, it creates the illusion of an autumnal evening, windows open to the quiet hissing breeze. In their own ways, each artist presents us with a vision of our digital future in this historical present.

NB: on 10/10/2005 catch Alva Noto & Ryuichi Sakamoto as they perform the world premiere of their live collaboration at the Barbican (Only Connect).

To buy Sala Santa Celia and Insen online click here and here.

KultureFlash is a free, weekly newsletter covering contemporary culture in and around London. Each week we track down some of the more unusual and interesting events taking place in the Capital and deliver them straight to your inbox. Featuring art, gigs, films, talks, clubs and more -- we are committed to bringing you an eclectic mix of the most stimulating events in London.

If you want to tell us about an upcoming event please do so by sending an email to: events@kultureflash.net. We receive many emails and thus please realise that sadly we cannot reply to all of them. Every single email receives attention and we will contact you if we need anything further. Please note that KultureFlash is not a listings e-zine and we do not receive any payment from venues, artists, managers or promoters.

Please send all press releases, invites, books and CDs to:

KultureFlash Ltd.
52 Cranmer Court
Whitehead's Grove
London SW3 3HW