Sally Potter's fifth feature tells the story of a passionate and highly politicised affair between a Beiruti surgeon (Simon Abkarian) and an Irish-American scientist (Joan Allen). She began writing YES the day after 9/11 and claims the words "came out in a torrent". They flow particularly fast in the duo's climactic confrontation in a car park, a superbly pitched expose on their irreconcilable sexual and racial positions. YES was filmed during the start of the Iraq war; Bush banned Allen from travel to Cuba, and Beirut became uninsurable, so the film suffered political torments as deeply as its protagonists. A chorus of cleaners bring both depth and levity, addressing the camera directly as they anonymously scrub endless antiseptic white spaces, pondering the metaphysics of dirt. Quite weird, very wonderful and extremely moving.

NB: Sally Potter will be present post screening for a Q&A. YES is released in London on 05/08.

Norway isn't the first place that springs to mind when you think about disco, but the last few years have seen a steady flow of excellent druggy cosmic disco emerging from there. Leading the pack has been Lindstrom, whose spacey italo sound has been causing a stir on all the best dancefloors of late and whom the Nodisko crew have sensibly brought over to headline their annual Nodisko Live night. Add to that the bumping house of The Freaks, electronic duo Kompis and Nodisko's resident DJs Zak Frost and Magic Jase and you have all the ingredients for another seriously good party you can't a-fjord to miss...

Two summer evenings of poetry with installations, sound and choreography onboard the Sky Garden Barge -- a 1,000 tonne capacity Thames barge architecturally transformed by artist Max Couper into a performance and sculpture space for the tidal river. The open roof of the hold acts as a giant visual frame to the sky, with passing clouds and the turning light of the sun creating an evocative mis-en-scene. In response to the poetry, musicians, visual artists and dancers will create site-specific collaborations on each of the evenings. Sound and staging by George Christie and Peter McNamara.

NB: Dancing the Hold takes place on 05/08 and Deck Run on 12/08.

In 2002, German avant-garde composer Hans-Joachim Roedelius joined Grammy-nominated composer Tim Story to record an album of sparse neo-classical instruments under the name of Lunz. Roedelius has had an extraordinary life (at one point he was a political detainee in East Germany) yet the Lunz album was a tranquil yet engaging beauty. In 2005, the album was reinterpreted by contemporary artists, including Merz and Adem, and you can hear Lunz live (along with those two artists) at the ICA this evening. Also performing will be Groenland artist/singer-songwriters Petra Jean Phillipson and Kevin McCormack of Half Cousin.

If you don't think you can bear to even hear about another over-hyped laddish guitar band redoing the Gang of Four, try this: five girls from Vancouver who rock twice as hard and ten times as smart as any them. So why hasn't their brilliant debut Grab That Gun knocked them all off the charts? Maybe The Organ are just too tough -- expressing raw feeling with disconcerting coolness, keeping it simple but never obvious. Imagine Blondie redoing The Smiths only with more dread and you'll get an inkling of the dark pleasures of The Organ. With three London dates in a week, the capital might just start acquiring a habit for the "sombre intensity" and "classic European detachment" said to characterise their live performances.

NB: catch The Organ on 05/08 at Barfly, 09/08 at the Dublin Castle and on 11/08 at London Metro.

For 13 hours on Saturday LSE's Quad will be rocking to some of the most innovative young bands around. More than 20 acts will play for the bargain price of 10 quid -- that's less than 50p each! Their connection is the White Heat Tuesday club night; if you are familiar with the music policy then you'll know to expect the edgier end of art-punk, rock and electro. The bill is diverse, veering between new punks Comanechi and Kaito and old punks The Rotters, through the harmonious '50s throwbacks Vincent Vincent and the Villains to dirty, hip-hop influenced Tiger Force and even experimental jokers like Les Incompetents. The sheer range is impressive and at a price it would be churlish to ignore.

Someone at Warp and Wheels Instead of Hooves has been reading too many Evelyn Waugh novels judging by the many references to glamour, decadence and splendour in the press release, words that don't often spring to mind when one pictures the usual electronica fan. You can't fault them for trying though and even if the crowd may lack a certain elan, the venue should more than make up for it. Those more concerned with the music than the sumptuous Victorian architecture will be pleased to know that the three rooms on offer will be packed with the likes of Plaid, Jackson and Secondo, screenings of Warp Films and more DJs than you can shake a feather boa at.

A rare opportunity to catch two of Samuel Beckett's short inspirational blasts of pure theatre, cleverly conjoined by Natalie Abrahami, winner of this year's JMK award for new directors. In Play, three heads in urns are illuminated and interrogated by a roving spotlight. They endlessly spit and chatter confessions of a triangular affair, a wall of sound that you gradually feel your way into. The light splinters up and nails the twittering mouth of Not I, an incredibly almost Chuck Jones-seeming animation floating in the darkness. It's a richly physical barrage of words that you find yourself in, a feverish installation of a hell of other people. Your experience may outweigh your understanding but don't let that stop you trying.

NB: Play and Not I run till 07/08.

Wallace Shawn's brilliantly insidious and inexorable monologue targets our complicity over here in what happens over there: an anonymous tourist addicted to the good life falls sick with other people's suffering. An always timely piece performed by Shawn in a house, home, anywhere but a theatre -- Joe Hill-Gibbins directs himself in the intimate surroundings of Theatre 503's foyer, then the family house and gallery Home as part of the Young Vic's walkabout to showcase new directors.

NB: The Fever runs at Theatre 503 till 07/08 and at Home on 11/08 and 12/08. From 09/08 till 21/08 (also at Theatre 503) catch The Beach by Peter Asmussen, co-writer of Breaking The Waves.

Claiming to be the world's most published photographer and to have "slept with every woman he's shot", Japan's infamous pornographer-cum-liberator Nobuyoshi Araki was a biographical documentary waiting to happen. Despite the film's impassioned tributes from admirers, his seemingly puerile images of trussed-up housewives leave him looking less prolific auteur, more hyperactive dirty old man. But as the spectrum of his work is exposed, from moving photo-diary of his wife's struggle with cancer, to compelling socio-realism, it becomes impossible to resist his remarkably emotive style. Far from sensationalist, it transpires that Araki's "neo-Shunga" maintain a tradition of honest, even tender Japanese erotic art -- all the more fascinating because they emerge from, and transform, such a fiercely patriarchal society. A personal and revealing portrait that cements his position as master, not misogynist.

NB: Arakimentari is released in London at ICA on 05/08 and screens there till 18/08.

In Discreet Theatre's dryly witty reimagining of the Prometheus myth, our titan is more like a Barnum showman who may have given us fire the night before -- the wreckage suggests so. But tonight he seems preoccupied with guilt. Maybe that's because of a bowler-hatted Eagle administering a sharp dose of responsibility by eating his liver. Strong performances -- some performers here are from the Shunt stable -- and Michael Regnier's verbal dexterity set light to an enigmatic story about the science of society that unfolds like a Paul Auster fable.

NB: The Prometheus Experiment runs till 11/08.

Feted London four-piece The Rakes -- currently enjoying a wave of glowing press coverage -- play at the Mean Fiddler, plugging their new single "Work Work Work (Pub, Club, Sleep)". No matter what your thoughts are on brevity in song titles, if you're interested in guitar music you should definitely go along to this gig. Whilst the UK rock scene is currently world-beatingly gigantic, most of the big names display a dourness and self-importance that is off-putting to those looking only to dip their toes in the water. None of this po-facedness from The Rakes -- the Joy Division-esque spiky guitars are offset by knowing lyrics and a frontman whose delivery owes more to Jarvis Cocker's wryness than Johnny Borell's shirtless histrionics or Pete Doherty's smacky ramblings.

Looking like a cross between Jesus and Vincent Gallo can never be a bad thing and is surely reason alone to make sure you would want take in Devandra Banhart's London date at the former infamous Palace, KOKO. The folk loving singer, along with his band, has been likened to Tyrannosaurus Rex (pre name abbreviation), and his gigs do have the air of '60s hippydom about them with intricate guitar works and long hair aplenty. He, along with a few other artists (CocoRosie, Joanna Newsom...), is at the forefront of the new folk/New Weird America movement. With three released albums and his fourth Cripple Crow due out in September this prolific singer-songwriter has more than enough material to justify the gig's ticket price.

In his post-punk history Rip It Up And Start Again, Simon Reynolds argues that for years lazy journalists have written off the years between the Sex Pistols and Nirvana as a musical void. But as Franz Ferdinand and Bloc Party have demonstrated there was more to '80s Britain than Wham! and Phil Collins. Looking beyond punk to embrace dub, disco and funk, bands like A Certain Ratio and PiL created a sound that still reverberates today. With a new generation discovering their music, this is ACR's first London show in two years, so expect a front row of youngsters eagerly taking notes.

Have you got something to say? Well it's no good having something to say and not having the organisational skills to get ya self on the list for the ICA's new brilliant Speakers Corner! From 11am - 4pm the ICA are putting up a rosta of speakers in St. James Square, handpicked from submissions from anyone who has something to get off their chest. With 15 mins each you can't get bored, and they'll even give you a picnic hamper for under a tenner so you don't have to leave while your fave ranter gets to their point! Afterwards saunter over to the ICA for DJs Corner -- and if you still miffed from not getting to speak now's your chance to sign up on the night and play your own records for 15 mins of attention!

NB: submissions should be sent to talks@ica.org.uk before 08/08 (11am). For menus and to order your hamper send an email to ica@capergreen.co.uk.

The enormously endearing Miranda July writes, directs and stars in her film about an artist looking for love and recognition. Up until Me And You And Everyone We Know, July had made a name for herself as a performance artist and writer, featuring in the 2004 Whitney Biennial. However, she has successfully managed to bring her unique vision to the feature film, creating a blend of magical realism, social satire and artist's film. Through suburban mundanity she takes us on an extraordinary voyage exploring loneliness and desire. What's more, July's dry sense of humour exploits the oddities of modern life in a way its precursors -- films such as Donnie Darko, Ghost World and Lost In Translation -- never managed to.

NB: Miranda July will be present post screening for a Q&A. Me You And You Everyone We Know is released in London on 19/08.

Two classic movies in the serene surroundings of Kensington Gardens. On Friday night, Blow-Up, directed by Michelangelo Antonioni, captures the spirit of '60s swinging London. It's a psychological thriller, starring David Hemmings and Vanessa Redgrave, and the story of a fashion photographer whose work reveals and lures him into a murder mystery. On Saturday night, Vertigo, perhaps Hitchcock's greatest work, is a dreamlike study of sexual obsession starring James Stewart as the detective who falls in love with the woman he is assigned to follow.

NB: Blow Up screens on Fri 12/08 and Vertigo on Sat 13/08. DJ Chris Coco get movie goers into a relaxed mood with pre-screening chill out vibes (7 - 9pm). For other outdoor screenings check the Summer 2005 Somerset House programme (16/08 to 20/08).

Art and fashion fusion from the Kollectiv that brought us DaDaDa: Strategies Against Marketecture. Turn To The Left brings together the hardcore DIY or die sensibility of Chicks on Speed, Tatty Devine's eclectic drive to accessorise, and the general spirit of resistance you can wear. It's an excellent opportunity to witness the union of art, fashion and performance on the catwalk, and to catch a line-up of oh-so-nefarious DJs.

You've seen the tube posters: a gloriously virile and bare-chested Adam Cooper smouldering away at unsuspecting commuters with "come hither" eyes. If that hasn't lured you, then consider the fact that Cooper is one of the most exciting choreographers working today, having forsaken the security and stature of a job as principal artist with the Royal Ballet for a nomadic and creatively fulfilling life as an independent classical dancer, musical performer and choreographer extraordinaire. In this reworking of de Laclos' 18th-century classic, Cooper plays Vicomte de Valmont to his wife Sarah Wildor's Madame de Tourvel, which promises an extra frisson in the famous scenes where the unscrupulous libertine seduces the virginal naif.

NB: runs till 14/08.

For 18 years Yo La Tengo have produced an incredibly diverse catalogue of albums with songs ranging from gentle acoustic strums to noise-fuelled indie rock anthems and distortion-soaked instrumental epics. At the core of this variety lies a unique lo-fi beauty, at once disorientating and tender. Similarly to their peers Sonic Youth, their commitment to creativity after decades of existence ensures any opportunity to see them perform becomes all the more poignant. Whilst many of their songs ("Autumn Sweater", "Our Way To Fall") are so defining and essential their exclusion would be unthinkable, their vast back catalogue will guarantee a certain element of surprise, hope and expectation. Touring in support of their recent retrospective compilation Prisoners Of Love this concert promises to be something special for devoted fans and comparative newcomers alike.

Taking time out from baiting liberals and being fellated by Hollywood starlets, Vincent Gallo makes a rare visit to these shores this month to showcase another aspect of his self-proclaimed genius, his ability as a musician. As much as his films violently divide opinion so does his music, though you get the impression that most of his fiercest critics are more concerned with judging the artist not the art. Look beyond the controversy and hyperbole and you'll find a genuine artistic talent as the soundtracks to his films and the album When have demonstrated.

Music from the 12th, 13th, 14th and 20th centuries are brought together in what could be one of the most interesting concerts of this year's BBC Proms Season. The sublime yet simple music of Arvo Part is paired with early French and English motets and monody, by Perotin and anonymous composers which Part studied before his own renaissance in the early '70s where his "tintinnabular" style of composition emerged. These works, under the direction of Paul Hillier -- a close collaborator with Part -- are to be performed by the highly regarded Estonian Philharmonic Chamber Choir and organist Christopher Bowers-Broadbent.

NB: four quid standing tickets will be available on the day of the concert itself.

Fashioning The Future is a visionary and creative exploration of where fashion and clothing are heading, the very first guide to the future wardrobe and future digital culture made possible. From electro textiles and biotechnology to smart fibres and nanotech, the exhibition Fashioning The Future explores a spectrum of technologies that will impact on future fashion design. Suzanne Lee will be discussing the above and opening up the debate on fashion's role in relation to the expanding field of technology and its application.

NB: Fashioning The Future the exhibition runs till 02/09.

KultureFlash doesn't normally cover the opening of a new bus route but then, arguably, most bus journeys in the capital don't involve a performance art happening at each stop. Developing relationships with the route, the passengers and the passing public, each seek to invoke and discuss a variety of concepts, including those of migration and the state of the city. St Peter's Church on Liverpool Grove will host a performance from the London-based avant-theatre company These Horses. The company will produce a new piece that promises to hypnotise the audience with a powerful sound and action performance. Lisa Cull's work will involve documenting the occasion through photographs that will then be given away to the passengers when they finally disembark at The Mason's Arms in Walworth. Music, drinking and a talent show will finally ensue.

NB: the event will commence at 7pm outside of Paddington Station then will continue along a bus rout and end at The Mason's Arms, 109 East St., SE17 from 9pm. For bookings and further information contact SpRoUt on 07956.403.400 or info@sproutweb.co.uk.

Erstwhile big beat champion-turned-superstar DJ, would-be Oasis producer and purveyor of sonorous, Krautrock-esque techno, Richard Fearless is the latest DJ to attend the hallowed FabricLive studios and release a mix album. As you'd expect, this is going to be accompanied by the man himself playing a set at the club's Friday night wing-ding. Given that he's one of the original DJs from the Sunday Social line-up, his skills behind the decks are not to be doubted. He's also joined in the main room by breaks god Adam Freeland, Krafty Kuts and the Stanton Warriors, while Fabio and Grooverider rip up the decks with a five-hour 20th anniversary set on the other dancefloor. In fact, the only remotely bad thing about this night is the presence of Fearless' horrible new moustache. Shave it off, Richard!

NB: 12/08 sees DJ Vadim presenting One Self at FabricLive, joined by the Stereo MCs, Scratch Perverts, Blakey and the Herbaliser.

Obscure musical genius Will Oldham returns to the UK under his current moniker; showcasing songs from his latest release Superwolf -- a collaboration with indie freelancer Matt Sweeney (formerly of Chavez, Skunk and failed super group Zwan). Conceived as a challenge between Oldham and Sweeney to write each other songs, it has been critically hailed as Oldham's finest album since '99's I See A Darkness. Despite its particular conceptions it is entirely in the spirit of Oldham's earlier work -- quivering vocal lines are entwined within simple guitar arrangements, the result being often deadly quiet, intensely meditative and awkwardly soothing. For Oldham devotees this concert will be a cherished opportunity to experience a lo-fi icon bringing his American gothic tales of death, incest, love and loss to life.

"Absurd" and "surreal" are tags one could easily place on the novels of John Irving, but this American talent could be described as Dickens meets Vonnegut via Vienna, bears and wrestling. Over the decades Irving has produced complex and weird family epics, infused at turns with the tragic and the comic, painstakingly unravelling as time passes...you may well remember The World According To Garp. These strangely familiar places play out an obtuse American-type of Beckett morality. He is probably the most famous dyslexic novelist to write bestsellers. In his words, he doesn't seek out the weird, rather he notices how "commonplace the bizarre is".

Instead of the usual summer work from stock, Haunch is challenging our values with a show on belief and transformation, and it's rich with a range of forms and approaches to these very notions. Notable works include Nathan Coley's duo screen video, Jerusalem Syndrome, tries to approach buildings or structures as vessels for worship and their worshippers (e.g. the Wailing Wall); while Mariko Mori has combined the ziggurat form with a Japanese "round stone", both originating from ancient belief systems, and arrives at a funky sculpture; and Magda Tothova's amuses with her maiden snogging a Lenin bust. Traditionally the exploration of "spirituality" in art has sat firmly in the realm of painting, yet of late video has made interesting contributions, particularly Bill Viola's, another participant. (Runs till 25/08.)

NB: for other engaging group shows, catch Take It Furthur! at Andrew Mummery (ends 13/08), Ordering The Ordinary at Timothy Taylor (ends 31/08), The Way We Work Now at Camden Arts Centre (ends 11/09), Open Systems at Tate Modern (ends 18/09) and 7 at Sprueth Magers Lee (ends 30/09).

The jazz dance underworld has recently been getting extremely excited about the continued emergence of the marvellously named Japanese jazz collective, Soil & 'Pimp' Sessions. Still awaiting official UK releases, there has been feverish haggling and a not inconsiderable dollop of hype over the limited quantities of 12" imports currently available. Raw, fractured, vibrant jazz is what we have heard so far, but it is only now that we have a chance to actually see what all the fuss is about in a live format. Gilles Peterson, who has championed the Soil & 'Pimp' Sessions from the beginning, hosts proceedings, and will close the evening with another inimitable DJ set. An apt way to slowly introduce oneself to the delights of the bank holiday weekend.

For years Claire Denis has been making feature-length cinematic poems with minimal dialogue and narrative, driven by near-silent visual communication. The Intruder takes this formula even further, journeying into both the metaphysical and across the globe, exploring the meaning of the human heart. Michel Subor plays Louis Trebor, a 68-year-old man with only his dogs as friends. He has abandoned sons all over the world and is indifferent to the only son he is still in contact with. To remedy his failing heart he goes to South Korea for a transplant ,beginning an epic journey from his home in the Jura mountains of France back to his former home on an island near Tahiti.

NB: The Intruder is released in London on 26/08.

Jerome K. Jerome taught us that lazy summer days were designed to be spent "messing around in boats" and whilst the great idler might have not approved of the hyperactive BPMs on offer at Acid On Sea, we're sure he would have agreed with its spirit of nautical adventure. Packing the poop deck with the likes of Marco Passarani, Mark Pritchard and Ceephax Acid Crew, the Wheels Instead Of Hooves team are promising a riotous 303 soaked trip up and down the Thames aboard the venerable Dutch Master.

NB: the Dutch Master departs from St Katherine's Pier at 1:45pm sharp so don't be late! Tickets for the boat party also provide entrance to the evening's secret Acid Off Sea party.

King's Cross freight depot is the unlikely setting for this two-day multimedia extravaganza. Featuring a plethora of exciting young talent in nine venues around the depot this festival truly makes use of an overlooked urban space. On the main stage Goldfrapp will shine magnificently in this grimy backdrop with their saucy burlesque show, while The Magic Numbers and The Bees will provide the sunny Isle of Wight meets California atmosphere. Elsewhere The Others bring the attitude while the The Earlies bring the talent to XFM's stage and on the New Bands stage Test Icicles, Duels and Amusement Parks On Fire will showcase their dark strengths. Playing into the early hours will be James Lavelle, Mr Scruff, Felix Da Housecat, Stuart Braithwaite (Mogwai) and many others.

Cecily Brown's reputation precedes her -- hanging with the trendy celebrity art crowd in New York, and with critic David Sylvester as her father, her personal life runs the risk of overshadowing her art. Now we have the chance to judge for ourselves, as Brown shows her largest UK exhibition to date, in Oxford. This retrospective contains over ten years of paintings by Brown, as well as the rare chance to view an early, animated film by the artist. Drawing on influences from Goya to porn mags, the show is all the motivation you need for a day trip to the dreaming spires. (Runs till 28/08.)

NB: Cecily Brown's work can also be seen in Saatchi's The Triumph Of Painting Part 2 (till 20/10).

Jeff Mills seems to be a permanent fixture at Lost these days, generally closing the evening with a lengthy set of intricate, brutal and inspiring rhythms. Amidst a glut of other events on this bank holiday weekend, Mills will be representing once more, proudly continuing his affiliation with the revered underground techno institution that is Lost. Expect an array of sounds to convincingly pull anyone out of their holiday lethargy, as this atmospheric venue in London Bridge is once more subjected to an uncompromising assault.

Hedgehog & de Moron's (as we affectionately like to call them) summer Tate show deviates from the architectural norm by discarding the usual CGI fly-throughs and complex fluorescent diagrams. Instead, it features a vast array of models, off-cuts, drawings and general works-in-progress that map the process of making architecture, not the glamorous end product. If you thought H&dM buildings were all about surface finish, what will really impress is the almost endless refining of ideas through the rough models -- version after version until the right massing or internal space is reached. If there's one niggle, it's the ironic fact that the exhibition feels dwarfed by the size of their own turbine hall -- a vast space that needs vast objects -- but nonetheless an exhibition not to be missed.

NB: runs till 29/09. While at Tate M make sure you catch Open Systems (till 18/09).

What we see in the mirror often differs from the way we are perceived. Our interest in photographs of each other presents a need to see still reflections of life within the space that surround us, while self-portraiture has remained a means by which artists explore the potential to capture "true" likeness. UVA's Mirror reflects on this by presenting portraits made by the viewer's movement, creating patterns that frieze to find a shape, holding a revealing likeness of character. Reacting to movement, the image is at once generic and individual, forming a comment on the real relationship between us and others.

NB: runs till 30/08.

A troubled genius to his fans, an overweight, forty-something indie no-mark to his (very few) detractors, Daniel Johnston is an enigma by any yardstick. Escaping his West Virginia, Christian fundamentalist roots for Austin, Texas and life as lo-fi singer-songwriter, Johnston has become a word-of-mouth cult -- his allure inevitably deepened by a fragile mental state that makes his lyrics unbearably honest and his infrequent live shows a freakish trial-by-microphone. Director Jeff Feuerzeig's film purports to be an honest portrait of a man who walks that oft-romanticised line between genius and madness.

NB: the screening will be followed by a Q&A session with Daniel Johnston and Jeff Feuerzeig. On 01/09 catch Johnston peform at the ICA.

"Interdisciplinary" has become one of those overused postmodern terms; remember all those deluded fashion designers pretending to be artists? Hairywood, a collaboration between top London fashion house Eley Kishimoto, widely respected for their maximalist graphic prints, and 6a Architects, who designed the interior of Savile Row rebel shop oki-ni, is however anything but arbitrary. The team has transformed the threshold to the Architecture Foundation's new Old Street gallery, The Yard, by building a 6.3 metre-high tower connected to the gallery via a raised canopied deck complete with printed benches, a perfect spot for scoffing your sarnies. The more romantic visitor is invited to climb up the tower, symbolically laser-cut with a pattern of Rapunzel's hair by Eley Kishimoto, to an intimate viewing point for two.

NB: runs till 31/08.

Summer means a chance for posh art galleries to let their hair down. Normally scantily hung galleries start behaving like a closing-down sale, wheeling out their old stock and throwing out any pretentious notions of exhibition concept. This summer, Tim Taylor has added an air of sophistication to the usual jamboree. Guest curator David Thorpe has added a few new acts like Toby Ziegler and Damien Roach to the list of gallery stalwarts Susan Hiller and Fiona Rae, and given the show the modest theme of the "ordinary". There's nothing ordinary about this show, though, which with the added handful of a few "how did they get these guys?" classics like Jasper Johns (represented by a stunning flag piece), is packed full of treasures, old and new. (Runs till 31/08.)

NB: for other engaging group shows, catch Take It Furthur! at Andrew Mummery (ends 13/08), Changes Of Mind at Haunch of Venison (ends 25/08), The Way We Work Now at Camden Arts Centre (ends 11/09), Open Systems at Tate Modern (ends 18/09) and 7 at Sprueth Magers Lee (ends 30/09).

There was a tangible sense of disappointment following Dinosaur Jr's reformation gigs in June. Although playing some of their best songs, the fact that they were onstage for little over an hour inevitably provoked whispers questioning their motivation. With something to perhaps prove, the band have accepted an invitation by ATP as part of their Don't Look Back series to perform their seminal album You're Living All Over Me in its entirety. Fusing pop, metal, folk and punk and regarded by some as the first "proper" grunge record, it is arguably their strongest album. Opener "Little Fury Things" phenomenally sets the tone as initial screaming chaos gradually subsides into a beautiful hazy melody. Other highlights include the sonic squall of "Sludgefeast", creatively peaking with the majestic noise of "Tarpit". In truth there are no weak tracks; this unique performance should demonstrate this legendary band at their best.

An all-girl, no bass trio, Sleater-Kinney are indie veterans from Portland, Oregon who are only just coming into their own. Updating the post-punk of late '70s femme-avatars like The Raincoats, filtered through a very North-western US grunge aesthetic, this spring's seventh album The Woods (Sub Pop) was their best -- and loudest -- to date; a feral blast of angst rock leavened with lyrics, part gothic fairytale, part primeval howl. This show promises to be at least as visceral so bring earplugs but not preconceptions.

So often the artwork becomes a mere object of desire, representation or discourse, we gallery-goers so easily forget that artists are social beings like us. Performance artists especially are at the forefront of pushing social subjectivity; think Allan Kaprow in the '60s or Ron Athey in the '90s. These days Andrea Fraser has been expanding the boundaries of the female artist in society. Most of you will be familiar with her saucy performance at Friedrich Petzel in which she places the relationship of artist and patron into a situation of closer "intimacy". Another vintage piece of art world commentary occurred when she was invited to a group show and instead created the persona of "Jane Castleton" to take visitors on a tour of the museum's collection. Each performance was completely researched and scripted. Here Fraser will be speaking about her feminist-oriented institutional critiques and writings.

New London Architecture or NLA will be the first ever permanent exhibition space dedicated to the future of the City's architecture. Despite recent bombings and their unsettling effects and the greatest fall in retailing for 22 years the amount of architectural developments taking place is staggering, with 31 major developments planned or in the planning process. Peter Murray, NLA's curator, has chosen all these projects to demonstrate the need for Londoners and tourists to view what is going on in the city. A large model shows you where all the developments are taking place, including the 2012 Lea Valley Olympic Park. The very necessary premise of the gallery is to explain to Londoners and its 14 million tourists the city's future urban master plans.

NB: runs till 10/09.

In her first London solo show since 2000, Ellen Gallagher has produced a subtle but compelling intervention at the Freud Museum that draws on her recent series of works, Watery Ecstatic. Inspired by Freud's rarely explored, Darwin-influenced study of neuroscience and marine biology, Gallagher's drawings and films are shown alongside drawings of Freud's from that period and provoke links between the psychoanalyst and ancient Egypt via the Natural History Museum while exploring ideas of cataloguing and our quest for the irretrievable. (Runs till 11/09.)

NB: while there, catch the group show The Way We Work Now, at Camden Arts Centre (till 11/09).

Currently over the music press like a nicely-tailored suit, Cat Power plays this ATP-curated event at the Barbican, part of a season of concerts which see selected musicians playing albums from their back catalogue. As you'd expect from the setting, this is not going to be a mosh-heavy headbanger of a gig, but rather a great opportunity to listen to vocalist Chan Marshall's soulful, confessional voice and beautiful, traditional songs. Icelandic collective Mum also perform their lauded album Finally We Are No One at this double-bill gig, and while it may seem like laziness to simply plonk them into the "sounds like Bjork" bracket that so many quirky Icelanders are slotted into, there is a touch of Vespertine in their shimmering electronics and strong, unique vocals. Comparisons like this are for the uninitiated, though -- head down there and experience first-hand what all the fuss is about.

With a sound often reminiscent of angry metallic bees, Autechre are many things but "easy to swallow" is probably not one of them. One of the pioneers of the artificial intelligence sound centred around Warp Records in the early '90s, they have evolved over the years from pristine icy electro to dense intricate digital soundscapes that seem to betray no trace of human influence. Playing live as the headliners of the second Russel Haswell curated Easy to Swallow night, expect a brutal wall of sound from the electronic duo. Support comes from the Mego artist Pita and legendary Detroit DJ Robert Hood, who promises a special set comprised of the music that has influenced his career.

Hearwear is a gem of an exhibit tucked away in the recesses of the V&A, and while this is a museum in which being lost is a delight, keep your eyes peeled for a small and perfectly formed display. Just like, yes, by rights, hearing aids should be. And, while they are at it they should be doing more than just amplifying all ambient noise, but working actively for, and controlled by, users. With hot names clamouring to be in on the redesign, Henrietta Thompson of Blueprint driving the initiative, and brand gurus Wolf Olins adding their stamp of authority, this shall not be the last note sounded on the topic.

NB: runs till 05/03/06.

On Resilience, Miguel Depedro aka Kid606 -- the self-styled action-packed mentalist -- relaxes, changes tack even. Gone are the ADD mash-up bootlegs and ragga soundclashes. Instead this album harks back to the soft pads and classic IDM-stylings of Plaid and Black Dog... intelligent clonk, then. Check the reflective breaks of "Done With The Scene" or the softly syncopated squelch of "Xmas Funk" for a considerably mellower high. Ignoring "Spanish Song" (which veers dangerously close to Lemon Jelly) this is a delight, and never better than on "Sugarcoated", a slinky TR-808 lovers' groove, upon which Depedro layers waves and waves of whining synths a la Mirwais' "Disco Science". Class.

To buy Resilience online click here.

Seattle-based Laura Veirs describes her latest release, Year Of Meteors, as "a road record... it doesn't sound like one, but it is;" a logical remark due to the sense of haunting space and crystalline expanse within this tightly crafted collection of folk-inspired alt-pop songs. Recalling artists such as Beth Orton, Liz Phair and Kristen Hersh, yet still absolutely having an identity of their own, standout tracks such as "Magnetised", "Cool Water" and "Black Gold Blues" resound with an understated beauty. More than anything the record seems to hang in the air -- like a testament to the power of the solitary voice harnessed within seamlessly choice production and a refreshing lyrical edge. It's an album that captures your imagination on first listen and subtly seduces you with each extra listen.

To buy Year Of Meteors online click here.

A double CD retrospective of Ed Upton / Ed DMX's taut, dancefloor electro. The first disc is a compilation of the Wave Function releases on Rephlex, a conceptual series of 12"s inspired by the Copenhagen interpretation of Quantum physics. For those unfamiliar with Bohr and Heisenberg's seminal 1927 dissection, Wave: CD is a collection of sleek electro on the Drexciyan model. The second part of this package is titled Our Most Requested Records, an equally impenetrable abstraction wherein the "Most Requested" or favourite DMX Krew tracks are repackaged and re-presented (in a possibly commercially motivated attempt) to entertain the listener. It's all here: from the '80s synthpop (crashing drums, skittering rimshots and deadpan vocals) of "17 Ways To Break My Heart" to the sublime "Denki No Morodi" which shimmers like New Order's Ibizan fantasy Technique. Who knew quantum mechanics was this funky?

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