The days grow shorter and it's that time of the year again, the Frieze Art Fair. As usual over a 100 of the world's most established galleries set up shop in Regent's Park. This year's artist commissions comprise a muscle car collector's wet dream by Richard Prince that nicely ties in with Tracey Emin's custom paint jobs on four Fiat 500 cars. After quilted purses for Longchamp, what else could she do to extend her market? If art as commodity is not your thing, head for the subversive district by Frankfurter Kunstverein. Also keep an eye out for Mario Garcia Torres' interventions inspired by the work of film auteur Allen Smithee. If you need to sit between exhausting bouts of pushing your way through fashionable curators in order to actually see the art works, you might consider taking in a lecture by Thierry de Duve or Roni Horn. If you lean more towards the whimsical, a film by David Shrigley or Kara Walker just might help you replenish your energy.

NB: Frieze Art Fair runs from 11/10 till 14/10 but London is overflowing with various satellite events that all piggy back on the main attraction. We've put together a listings of our picks in a special Frieze 2007 Issue to see it click here.

Antonio Negri is one part of that Bonnie and Clyde duo of Hardt and Negri, famous for Empire (2000) and Multitude (2004). The former, written before the world-changing events of 9/11, was, and still is, a zeitgeity work of socio-philosophy. It advances the notion that in our globalised times we -- that's right, all you citizenry out there -- are all part of Empire and its "counter-Empire" -- Empire being the trans-national forces of capitalism that now control and organise our planet. But for the anti-globalisation protestors, it seemed that this odd couple were the posterboy intellectuals for the counter-Empire. In its 413 pages, inspired by Foucault's biopolitics and Deleuze's fluid thinking, Empire proposes to be the Communist Manifesto for the 21st Century. Unlike his young American colleague, the Italian professor is a real-life revolutionary "hero". Having done time for his part in the Autonomia Operaia's (Workers' Autonomy) violent acts, Negri's -- and Hardt's -- sequel was inspired by Baruch Spinoza's idea of Multitude.

Frieze's music programme shifts back to a one-off music performance, this year inviting one of New York's main figures of minimalism and avant-garde music: composer Glenn Branca. The guitarist will be conducting a performance of his epic Symphony No.13: Hallucination City for 100 electric guitars. The composition -- comprised of four movements; March, Anthem, Drive and Vengeance -- has been described by the Village Voice as his "most impressive work ever". Branca began composing for electric guitar ensembles in the early '80s. His ensembles have featured Lee Ranaldo and Thurston Moore from Sonic Youth, and members of Swans and Helmet. The symphony was premiered in the World Trade Center's plaza, in 2001 to great public acclaim. Based around continuous two chord notes, the chosen volunteers were required to provide their own guitars and amps, be available for two-day-long rehearsals and for a lengthy sound check prior to the performance. Like Stockhausen's 2005 performance in Old Billingsgate Market, the Roundhouse seems to be the right setting for such an event.

NB: for our special Frieze 2007 issue click here.

Reclaiming the city from dusk until dawn, Night Haunts began life as a net project with writer Sukhdev Sandhu revitalising the mystery and ghosts of London nights, accompanied by visuals (Mind Unit) and sound by flaneur (Scanner). A journey into the urban heart of darkness, Night Haunts is now published in book form, taking you through the sewers and across the skies in a police helicopter, via exorcisms, taxi ranks, night workers and Samaritans, capturing the shadows of London, at once filthy, beautiful, violent, comical and dreamy. At this special late night movie event, London night-time films will be screened, interspersed by readings from Sandhu and live music from Scanner. Jesus Blood was the inspiration for the now legendary work by composer Gavin Bryars, Nice Time captures Piccadilly Circus in 1957, whilst Boys From The Brown Stuff documents the sewage "flushers" of the city. You'll never see or hear London the same again.

There are few names in the electronica canon as sure to quicken the pulse of aging ravers as The Black Dog. The original triumvirate of Ken Downie, Ed Handley and Andy Turner were responsible for some of the most innovative and influential techno records of the early '90s, that to this day can still send shivers up the spine. With Handley and Turner long since departed to work as Plaid, Downie spent much of the last decade working with a succession of other artists before finally settling down in 2005 with Dust Science duo Martin and Richard Dust. Happily this has coincided with a critical renaissance for the old dog with a massive reissue of their early works and a well received recent album. All of which is a rather lengthy way of saying that advance tickets or a very early arrival are a must for this gig where the new look Black Dog will be playing live alongside the equally notable likes of Luke Vibert, DJ/rupture, DMX Krew and DJ Scotch Egg.

Autumn might be here but alfresco nights in the park are not quite over yet. The Experiment Marathon is presented by Olafur Eliasson and Hans Ulrich Obrist and will take place in Eliasson's "Swiss chalet gone wild" pavilion. The focus this year is on experimentation rather than interviews and the pressing topic of the day that will rally scientists, artists and architects is "What we have in common is that we are different". Israel Rosenfield and Luc Steels, of Sony Computer Science Laboratories, will team up with a group of high class nerds who will explore the brain's interpretation of reality, the colour of the sky, and phantom limbs. If pop psychology is more your thing, join John Brockman, Simon Baron-Cohen and Steven Pinker as they test the claim "Do women have more empathy than men?" Whoever wins gets to be the first in line for Pedro Reyes' Three Way Kissing Booth, a public experiment on the permutations of male and female desire.

NB: the Experiment Marathon runs on both 13/10 and 14/10.

Pure Gold reminds us that life is as much about choices as it is about people who help us to make them and stay with us when we fail. Simon lives with his family in a council estate in Deptford. For him London is not a glamorous cosmopolitan metropolis but a harsh place to get by in. After unfairly loosing his job and consequently his self-confidence, Simon grows closer to his cousin Paul, who believes that "it's only bad money when it ain't yours". Michael Bhim's play is a well-crafted and confident debut with a strong sense of direction. Even though it deals with sensitive issues of everyday racism, economic injustice and family problems, Bhim manages to balance it with a well measured dose of humour, which makes the whole experience entertaining and highly thought provoking at the same time. The production, directed by Indhu Rubasingham and co-produced by Soho Theatre and Talawa Theatre Company, has an immense capacity for emotional empathy.

NB: runs till 20/10.

Catch London electro outfit Hot Chip, performance artist Simon Bookish, indie rock duo Psapp, the Brazilian freak-folk of Cibelle, and the precocious talent of singer-songwriter James Chadwick, among others, at a live showcase in aid of Amnesty International's Protect The Human Week. Inspired by Glaswegian artist David Shrigley's illustrated book of imaginary songs, Worried Noodles ("The Empty Sleeve"), this eclectic group of musicians and singer-songwriters, signed to independent record label Tomlab, will bring to life Shrigley's surreal doodles and musings. A chance to hear Hot Chip's toe-tapping anthem "Over And Over", and see Shrigley and his animations in the flesh, in the comforting knowledge that all proceeds from ticket sales will be donated to the charity.

NB: on 13/10 (6pm) at the Curzon Soho catch David Shrigley as he introduces several of his films and takes questions from the audience. (This event is programmed in conjunction with the launch of Shrigley's latest book Ants Have Sex In Your Beer.)

A shockingly true story about a counterfeiting operation in Nazi Germany that very nearly tipped the scales. The Counterfeiters follows an exceptionally gifted Russian/Jewish forger through the stomach-twistingly surreal experience faced by those privileged few detainees, lucky enough to have been members of the reprographics industry before the war, who had been chosen for Operation Bernhard. The characters, many of them thinly veiled surrogates for the real players in this incidental elite, move through the film with the frenetic exhaustion of men rapidly descending on their doom at the hands of their captors. Some shared an intense hatred for each other that manifested in spontaneous and catastrophic ways, while others teetered on an ethical precipice, with grim circumspection and their own survival in mind. Themes of altruism and despair permeate this incredibly stylish and deeply engaging film, and -- with one or two exceptions -- the events depicted are historically accurate. The acting is excellent, the story compelling, and the atmosphere created by director Stefan Ruzowitzky before and after the war is somehow both romantic and convincing.

NB: on 12/10 (6:30pm) at the Curzon Soho catch Stefan Ruzowitzky in conversation after the screening. The Counterfeiters is released in London on 12/10. For other good films check out the London Film Festival (17/10 till 01/11).

Renowned hip-hop producer and artist Guillermo Scott Herren has steadily acquired the iconic status of underground genius over the past decade. Prefuse 73 is perhaps his most accomplished musical alias -- a fusillade of dirty beats, soulful moans, glitch infused electronica and subtly bewitching, beat-boxing hip-hop. Essentially Prefuse 73 is a hip-hop project, but a very progressive form of the genre -- sampled raps are distorted, spliced and shredded to entwine with highly textured organic beats. A list of previous collaborators -- Ghostface, Aesop Rock, Blonde Redhead, El-P, Battles' Tyondai Braxton and Four Tet -- should give an idea of the spirit of invention and creativity of Prefuse 73's vision. If you're a Warp Records fan you'll probably already be an admirer of his work. If, by chance, he has passed you by then this gig -- which will presumably showcase his new album Preparations -- is a great opportunity to be converted.

zero degrees (Akram Khan + Sidi Larbi Cherkaoui) @ Sadler's Wells (16/10 to 20/10)
If you enjoyed Antony Gormley's show at the Southbank Centre this summer see how his work can interact with dance, performance and live music (courtesy of Nitin Sawhney) on stage at Sadler's Wells. Even if you're not a Gormley fan, you'll appreciate this fascinating, moving and beautiful collaboration between Akram Khan's contemporary kathak style and the emotionally charged performance of Sidi Larbi Cherkaoui, best known for his work with Les Ballets C de la B.

Connect Transfer (Shen Wei Dance Arts) @ Barbican (17/10 to 20/10)
The relationship between dance and visual art is also at the core of American company Shen Wei Dance Arts' piece Connect Transfer; a show that investigates the links between sculptural and architectural shapes as created by choreography and the visual representation of time and movement. The set is a large canvas on which the dancers leave paint marks of their movements. The performance is heightened by live piano music and promises to offer a entertaining and visually intriguing show that flirts with the live visual performance genre, reminding us also of the '60s choreographed paintings by Yves Klein.

NB: both these events are part of Dance Umbrella 2007 (runs till 10/11).

The Times BFI London Film Festival has returned with a deluge of cinematica to stay out the occupation of London's West End and independent picture houses over the weeks to come. Despite the odd change to the regularly scheduled programme, the LFF has drawn the best and brightest (not to mention biggest blockbusters-to-be) to the capital, boasting a varied schedule that reaches from a live-action Disney flick to a 2 hour-long excuse for Steve Buscemi to make out with Sienna Miller, and no less than a dozen sincere and timely investigations into the sweeping impact the Iraq war has had on lives around the world. Some real gems can be turned up, for anyone willing to dig for them, so we thought we would make it a little easier and do the digging for you.

The Festival kicks off with Cronenberg's edgy new thriller Eastern Promises, which leads midwife Naomi Watts, following criminal Viggo Mortensen, into the seamy underworld of Eastern European organised crime.

Ang Lee's new period drama Lust, Caution is set in 1942, during the Japanese occupation of Shanghai. Tony Leung Chiu-Wai and Tang Wei give spectacularly subtle, yet powerful performances, as a seemingly well-to-do woman infiltrates the life of a Japanese collaborator only to become emotionally entangled.

One of the most talked about and eagerly anticipated films in the Festival, Todd Haynes' unconventional biopic I'm Not There brings six actors (including Cate Blanchett) together to play the different aspects of the life of legendary singer and songwriter Bob Dylan. The truths in this movie lie in their telling, and the cast conspire to spin a gripping yarn. Beautifully shot, and with a soundtrack that is suitably stunning, this is definitely one of the ones to watch.

Brad Pitt and Casey Affleck appear in The Assassination of Jesse James by the Coward Robert Ford, a moody and penetrating film about the legendary gentleman outlaw (Pitt) and his associate and eventual slayer, Robert Ford (Affleck). A genuinely novel take on the western, The Assassination of Jesse James is stylish and subtle in its unique telling of a classic tale.

City of Men, inspired by the eponymous Brazilian television series that followed the hugely successful and ultra-violent City of God, tells the intertwining tales of two boys who have grown up together on a favela in Rio, as they struggle in times of high tension and extreme violence in their community to come to terms with issues of family, identity and friendship.

Antony Gormley's towering inferno of a sculpture, Waste Man, sets the backdrop for part of this eerie and unsettling retelling of the biblical story of Moses in Penny Woodcock's Exodus. Set in contemporary Margate, immigrant families are sequestered into a ghetto quadrant established in Margate's Dreamland theme park. In true Old Testament style, Exodus manages to cover all the narrative bases, and to draw parallels between seemingly timeless problems.

Set on the Arctic tundra, Far North is a clean and compelling tale about the survival of two women who must stake out a territory for themselves in the unforgiving wasteland that is their home, as it is invaded by interlopers of various kinds. The story is a simple telling of a complex dilemma, and the sensitivity of the cast is set off beautifully against the backdrop.

Super-stylish and surprisingly sharp-edged, Persepolis tells the story of a free-thinking young girl growing up in Iran in the '70s and '80s. With a slick and simple animated style, the film reveals a side of Iran's culture that is a refreshing contrast to much of we see in the West. Tough questions are asked and answered with an easy delivery and perceptive humour that can only be achieved though animation.

Brian De Palma's controversial new film Redacted deals with the dissemination of information and the innate human cruelty that blossoms in wartime. The investigation into a brutal rape and murder case is explored through surveillance footage, YouTube style web postings, video diaries and blog entries, all of which portray with clinical accuracy the horrors of war.

Christian Bale plays an American POW in Laos circa 1965 in Werner Herzog's Rescue Dawn. A well-timed analysis of wartime conundra, Rescue Dawn is an exemplary execution of Herzog's edgy and visually dazzling directorial style. Rallying the troops in a POW camp also provides an interesting soapbox from which to comment on the current climate.

You, The Living is a quirky comedy that twines the tragedies and comedies of life together in a series of theatrical vignettes set in a collection of grimy interiors. The film is absurdly funny and honest, and leaves you with a little more substance than your standard feel-good comedy.

A low-budget indie film that has been getting a lot of attention, Jetsam is a psychological thriller that begins with two survivors of an unidentified disaster at sea, a man and a woman, who immediately wake on the beach and take chase. The film begins to unravel, from the woman's slowly returning memory, a story that delves into the darker parts of the human heart and ends in disaster.

NB: the London Film Festival runs from 17/10 till 01/11.

Dutch architects are a flagrantly creative bunch. After the world wide fame of Rem Koolhaas, his Rotterdam practice of OMA and the clusters of bold architecture practices that followed, the consistently prolific, impressively creative output of this watery landmass deserves closer attention. The new boys in town are Rotterdam practice Neutelings Riedijk, who come to Tate Modern to present their newly realised Netherlands Institute For Sound And Vision. Here, the attention-grabbing aesthetic of the televisual landscape is commented on through a glass facade that portrays famous moments on the Dutch box. The collaboration with graphic designer Jaap Drupsteen has made a bold, poppy, deliciously back handed dig at the flashy silliness of popular culture, that's well worth a second look.

NB: also of note is Matthias Sauerbruch in conversation with both Nikolaus Hirsch (Wandel Hoefer Lorch + Hirsch) and Jan Liesegang (studio Raumlabor) discussing the emerging concerns within German architecture at the RA on 22/10 at 6:30pm.

With the fifth studio album from Karl Hyde and Rick Smith hot out of the oven, Underworld return to more traditional gigs -- breaking a five-year absence that has been spent dabbling in film scores, internet broadcasts and even publishing their own journal. Oblivion With Bells (out on the 15th) is an engaging journey across soundscapes that are often massive, colouring their characteristically ambient beats with a vast palette of acoustic, electronic and vocal sounds. The result is epic techno, rich as a Brian Eno composition and with the sort of attention to detail Richie Hawtin -- who they cite as an influence -- would be proud of. Even post-Darren Emerson, Underworld have been a deft hand at production, and this time is no different. The various moods of their latest offering are layered subtly enough to allow them to move between urgent, pulsing riffs and gaping urban requiems. Played live it promises to be positively levitating.

NB: Underworld perform at Roundhouse for three nights, 17/10, 18/10 and 19/10.

Russian journalist Anna Politkovskaya was gunned down in her apartment block on Vladimir Putin's birthday a year ago. A fierce critic of the Chechen conflict and President Putin, she had previously survived a poisoning and a mock execution by Chechen rebels. When Alexander Litvinenko later accused Putin of ordering her murder, he subsequently died from polonium poisoning. Jon Snow, who wrote the forward to Politkovskaya's last book, A Russian Diary, which she never saw published, celebrates her legacy as human rights protester with novelist James Meek, former resident of Russia, who has reported from Chechnya, Iraq and Guantanamo Bay, and is the author of The People's Act Of Love, longlisted for the Man Booker Prize. Also joining them is Azar Nafisi, who was denounced in Iran for writing the bestseller Reading Lolita In Tehran: A Memoir In Books, about the constraints on women under the Islamic Republic. Together they discuss the necessity of free speech and the importance of revealing the truth. An important event, particularly while a dictatorship in Burma has shut down the internet and continues to murder dissidents.

Before she was dancing about on The Orient Express (or wherever M&S currently have commanded her languid frame), Erin O'Connor was a gloriously extraordinary example (with her painfully thin, androgynous frame, pale skin and raven hair) of haute couture's fascination with bizarre, controversial and shocking notions of beauty, style and glamour. But as an internationally acclaimed model she has transcended the borders of beauty norms -- from fashion freak to household familiarity. As part of the V&A's exploration of the rise of the cult of the model in its illuminating and beautiful Golden Age Of Couture exhibition, O'Connor holds court at one of the museum's Friday night symposiums. She's reputedly articulate, open and bright, so it should be interesting to gain some perspective from her position in the eye of the storm.

NB: The Golden Age Of Couture runs till 06/01/08.

Iconic indie rock band Les Savy Fav bring their Brooklyn party to London town and you would be a fool not to crash it. Playing songs from their first album in six long years, Let's Be Friends is a satisfying return to gritty, aggressive guitars but introduces a new elegance to their subversive yet danceable sound. Smart and self aware, Les Savy Fav are responsible for jumpstarting many a bandwagon and we can expect this album to spawn a tide of fresh imitators. But no one can catch up with singer Tim Harrington's live stage antics: a man who demands crowd participation, you had better be ready to drop to your knees and give him 20 sit-ups, prepare for his kisses or to catch the bald and bearded behemoth as he swings from the rafters.

NB: sniff out their secret gig to be held a day or two before their Scala show to test if you have the moves to keep up. (Hint: Shoreditch.)

The summer has seen a period of transition in London clubs, with several popular venues recently closing and the July smoking ban providing the idiotic situation of clubbers dropping a tenner to spend most of their nights outside chugging Lucky Strikes leaving dancefloors empty. In amongst all this, there is predictably one constant in the shape of Fabric. Fabric's birthday weekend only serves to demonstrate further their stranglehold on London clubbing -- with Adventure In The Beetroot Field providing the shocking new on Thursday, and fans of the amen break more than catered for on Friday night. The more discerning sounds, however, can be found on Saturday night with live performances from Cobblestone Jazz and Black Devil Disco Club (whose recent In Dub album is certainly worth checking out) and a ridiculously rich line up of DJs providing a splendid variation of the house techno sound. Special mention should go to New York's fuzzy disco pioneers Rub n Tug, Bpitch Control's Ellen Allien and Detroit underground legend Omar-S -- this is only his third ever appearance in London!

AA Gill (Adrian Anthony in case you've ever wondered) is nothing if not controversial in his reviews. Legal action was taken against him after he wrote an article on Albania and he has also insulted the Welsh, the Channel Islands, viewers of Countdown, Richard Branson and Germans to name a few. He was, moreover, famously ejected with his dining partner, Joan Collins, from Gordon Ramsay's restaurant Aubergine. Restaurant critic for the Sunday Times' Style section and Tatler, Gill's articles are renowned for their humour, satire and bite. Table Talk is a delicious collection of his writings from the last 10 years. Whether you like your food debates raw, appetizing or well-done, this event with the UK's most poisonous critic should get you salivating. Bon appetit!

It's taken nearly 30 years but it appears that the mercurial Mark E Smith has finally found his match. Having ruled his band The Fall with an iron fist, hiring and firing at will, it was quite a shock to find the post-punk tyrant fronting an unlikely partnership with German electronic duo Mouse on Mars. An even greater shock came when the resulting collaborative effort, under the name Von Sudenfed, turned out to be the best work any of the parties involved had produced for many years; in the experimental electronic rhythms and melodies Smith may have found the perfect foil for his lyrical stream of consciousness. Knowing Smith's capricious nature it's probably too much to expect the whole thing to last too long and there's a very good chance this London show could be the second and last performance the group will make in London, all of which makes it even more of an unmissable event.

Explicit, provocative and banned in several countries, Catherine Breillat's Romance (1999) follows a young woman, Marie, as she embarks on a provocative voyage of sexual self-discovery. One of the films chosen for the Barbican's latest season, Seduced -- Sex And Censorship In The Cinema, the work continues to prompt debates about obscenity, pornography and cinematic representations of sex. And for once, at this special Q&A, the filmmaker herself will lead the discussion. Having appeared in Last Tango In Paris (also screening as part of the programme), Breillat is no stranger to controversy. Indeed, her first film was shelved for 25 years after backers became uneasy with the film's exploration of a young girl's sexual initiation. With female sexuality acting as a recurring theme in Breillat's films (Virgin, A ma soeur!), expect a lively debate about gender, identity, power and pleasure.

NB: this special screening and the Seduced -- Sex And Censorship In The Cinema season have been programmed in conjunction with the Barbican's Seduced -- Art And Sex From Antiquity To Now exhibition (12/10 till 27/01/08).

Resistance is futile. It could be argued that the politics of any society are largely decided by and their benefits visited upon the ruling classes: a narrow selection of its members who will benefit most immediately from its policies. Thus, political ideologies from one ruler to the next have the capacity to impact very little upon the lifestyle of those outside the political arenas established by those in power. The idea persists that these interstitial spaces are provinces of a new type of defense, located in those territories that fall outside of the political sphere of influence. Slavoj Zizek argues, however, that these are in fact ideological spaces, created in symbiosis with the state and manifested throughout political and popular culture. The failure of the resistance to supplant the state is not also the formula for its success. The failure to occupy the same political space as the government it seeks to unseat has not provided an alternative social territory outside the reach of the state, but a critical impasse -- the ramifications of which are the inescapable parody of the radical left.

Gambling as a metaphor for life, where the stakes are high, the fall out bad and the winner likely to take all, is a tough one to pull off, simply because it's such a damn good metaphor -- it's that much easier to trip over cliches. But Patrick Marber's sharp, slick and funny play -- a meditation on the relationships between various business, familial, emotional and financial dependants -- is a pretty failsafe bet, and this production deals the dialogue with winning flare. Behind the scenes at a London restaurant, five men plan an after hours poker game. As the banter bounces around before the cards are dealt, the nuances in every relationship become clear -- influences, desires, manipulations, addictions and compulsions. When the gambling begins, the issues play out with dangerous ferocity, exacerbated by the late arrival of a new player, who is secretly a professional. The stakes suddenly ratchet up a notch, and money's no longer the issue. Deal yourself in.

NB: runs till 17/11.

The Royal Court's international season gets off to a great start with a revival of Eugene Ionesco's Rhinoceros, premiered by the Royal Court in 1960. Benedict Cumberbatch portrays Berenger, a diffident but willing clerk. Among the cafe tables of his French provincial town there suddenly appear more and more rhinoceroses, causing destruction and chaos. Meanwhile, the inhabitants turn one by one from human to rhino. Jasper Britton's metamorphosis from prim clerk with a bad headache to snorting beast breaking up the furniture is particularly spectacular. It is a gripping production all round, leaving you hoping throughout that the trajectory of disintegration established in the opening scene will be avoided, and humanity saved, whether by love or the fire brigade. But the scenery, along with one's hopes for a happy outcome, are progressively demolished as the rhinos take over the world. By the end only Berenger is left, half-hoping he will retain his humanity, half-despairing of joining this strange new world. A disquieting study in the power of conformism.

NB: runs till 15/12.

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