In Pieces is a large group show honoring the late artist Christopher Landoni and his strange Lazarine ways. Landoni died nearly three years ago in a car wreck in his native Italy. He was an artist who luxuriated in archaic imagery and fantastical utopias, who scrambled futures waiting to happen with old fashioned grandeur. Landoni somehow always managed to capture a nostalgia in his work of a world not yet discovered, searching tirelessly for illusive quarries of one kind or another. A selective retrospective of Landoni's work will be exhibited alongside that of Landoni's friends and collaborators -- including Gavin Turk, Toby Ziegler, Toby Paterson, Alexis Teplin and Emily Wardill -- in a derelict Georgian townhouse in Islington. This crumbling stable is now bejeweled with all breeds of artwork, all of which in some indefinable way celebrate Landoni's extraordinary life cut short. An unusual way to curate a show -- the result is something bizarrely magical and somehow old-fashioned -- where the collision of works becomes a labyrinthine installation, so very much more than the sum of its parts.

NB: In Pieces runs till 27/04. Accompanying Landoni's work is an exhibition of artworks donated by Landoni's many friends and collaborators -- proceeds will go to a trust for Noah Landoni, Christopher's seven-year-old son.

In The Last Mistress, director Catherine Breillat puts the tendency to be a hard-core transgressor of taboos (in such films as Romance and Anatomy of Hell) behind her and tells a much more pure tale of amour fou. The beautiful, almost feminine, libertine Ryno de Marigny (played by Fu'ad Ait Aattou -- all dreamy bee-stung lips and Michelangelo curls) is betrothed to marry Hermangarde (Roxane Mesquida), a virtuous young gem of the 19th century French aristocracy. But, Ryno has been locked in a passionate love affair with the dark, sensuous Malaguena Vellini (played by the spellbinding Asia Argento) for over 10 years and word on the street is that he will never be able to end it. Argento is an actress at the top of her game -- in love with the camera and loved by it in equal measure. There are shades of Beatrice Dalle and Uma Thurman about Argento's screen persona, but there's an intensity and a wildness about her that blows such lower-league actresses clean out of the water. Breillat's film is a deftly-framed attack on the constricting morals and conventions of the narrow-minded French upper classes in the mid-1800s, with an ecstatically physical performance from Argento at its heart.

NB: The Last Mistress is released in London on 11/04. Other films of note released on the same date are Scorsese's Shine A Light and Hitchcock's The 39 Steps. Keep in mind the special Q&A screening of Joy Division on 24/04 with both Stephen Morris and writer Jon Savage.

Shunt's David Rosenberg's Contains Violence climaxes in a cartoonish orgy of gore but it also presents corporate lives as throbbing with id-dish desires of sex and death. The premise is that the action happens in offices across the street from the Lyric, and the audience -- situated on the roof of the theatre -- is armed with binoculars to zoom in on unfolding events, and wireless headphones broadcasting the thoughts and words of the characters, alongside sounds of ring-tones and speaking computers all expertly synched with the performances. These are brilliant, especially Simon Kane's obsessive voyeur- antagonist, who plays a mixture of Iago and Old Testament prophet. Not that this is character drama; Rosenberg's performance texts are much more Chris Morris. Contains Violence places us as active spectators -- we choose where to watch, where to focus close-up -- and initial longueurs allow your gaze and focus to wander and wonder about the building while the soundtrack by Conspiracy grinds and warbles with the menace of the corporate jungle. But it ultimately casts us as complicit voyeurs; we cannot choose to intervene like Jimmy Stewart, and that predestined judgment sits uneasily with the form. But its dazzling execution still demands we watch.

NB: runs till 10/05. The show starts after sunset in April at approx 8:30pm and in May at approx 9pm. Also, wrap up warm and prepare yourself for being outside (tip: bring gloves).

Of all the weird and wonderful ways to spend your Saturday night in London surely one of the finest has to be at Pin-Up at the Bloomsbury Bowlling Lanes. For over a year now they've been mixing and matching some of the more interesting bands and DJs around with film showings, a variety of strange performances from magicians to burlesque troupes and most importantly the sport of kings, Ten-pin bowling. Having already played host to the likes of Fred Deakin, Tom Middleton and Rob da Bank, they're upping the ante this month with not only a rock n' roll set from Andrew Weatherall but also a live performance from Hot Chip affiliate Grovesnor, whose ridiculously smooth stylings are the current talk of the town. Of course the real action takes place in the lanes, where the assorted dudes and dudettes will be knocking back their White Russians with glorious abandon while attempting to perfect their cranking.

NB: to experience another side of the multi-faceted Mr Weatherall head down to East Village on 10/04 (9pm - 2:30am), where Lord Sabre will be digging through his record collection to expose his more psychedelic disco side in celebration of the release of his Watch The Ride mix.

While Vince from The Mighty Boosh laments his lack of drinking options in Camden after the fiery demise of The Hawley Arms, tarted up boozer down the road The Lock Tavern continues to provide evening entertainment for those less concerned with vintage leather jackets and honing their Jagger pouts, and more with drinking and dancing to lively music. The highlight of The Lock Tavern calendar is undoubtedly ASBO on a Saturday night. Now on the cusp of its 3rd Birthday, ASBO residents Alvin C and the rising Riotous Rockers play a heady mix of disco, bleepy rave and in your face electro with the added bonus of some rather splendid guests that have recently included Arveene and Erol Alkan. Tonight's guest is Paul Mogg, more commonly known as 50% of the excellent Psychonauts who were the masters of the art that is the mixtape back in the days when DJing involved a bit more than playing the latest Herve remix on your cracked copy of Ableton (for proof seek out their seminal essential mix). Having forgone the cut 'n paste hip-hop sound after unwittingly launching James Lavelle's career as a DJ, Mogg can now be found making and playing the sort of bleepy house/techno crossover sound which fits in perfectly with the ASBO ethos.

NB: also of note, but more on the minimal tip, is Mobilee head honcho Anja Schneider, who plays at the DDD night at East Village (10pm - 4am).

Hearts Revolution roll into New Cross in their shiny ice cream van on the back of a whole heap of blog hype (sending out boxes of candy helped) and a special performance at the recent SXSW festival. Coming on like a less pretentious Crystal Castles, their 8-bit electro pop sound is perfect fodder for the assembled masses at this Adventures In The Beetroot Field mini-extravaganza. There is the added bonus of talented young artist Kate Moross doing visuals for their performance (Moross' label Isomorphs is also releasing the Switchblade EP by Hearts Revolution on some mad exclusive vinyl). Joining them on stage are the perennially tipped Chik Budo, whose mostly instrumental punk funk stylings are soon to be realised on a debut single, and OK Tokyo, the current beaus of the NME editorial. Utilising his contacts book to the fullest, resident Casper C has pulled off something approaching a coup by getting talented French producer and DJ Brodinski to play a headline DJ set. Brodinski rightfully caused a bit of a stir last year with the excellent debut single "Bad Runner" and has followed that with some excellent refixes of Radioclit and Boys Noize, and regular appearances at the likes of Bugged Out!.

NB: those fans of Brodinski who get a nosebleed going south of the river can catch him DJ at Bloggers Delight on Sunday at the Lock Tavern with Olaanksi from Death To All Cultural Snitches and a special "banging" DJ.

Not everything aural coming out of Belgium involves electro, it seems. Aeroplane -- the pairing of Vito de Luca and DJ Stephen -- are pouring waves of psychedelia onto the well-established cosmic disco sound to pretty meteoric effect. Their first 12" saw an explosion of hype before it was even pressed thanks to its inclusion in a Lindstrom and Prins Thomas radio mix, and only one release later they're getting namedropped by the likes of Mylo, Jerry Bouthier, Cut Copy and Laurent Garnier. Imagine a concoction of Italo-inspired beats, slowed disco and patient grooves in the style of Permanent Vacation and you're there. By the standards of the current enthusiasm for disco they're liable for a Herculean love affair of their own, though that'll definitely be with DJs and dancefloors rather than Sunday newspapers and trend hounds. If you're fad-phobic, take some solace in the fact that you're not being short-changed with a mere DJ set either -- it's Aeroplane's first live performance on these shores, thanks to Lazermagnetic. London disco devotees will also recognise the name of Jim Stanton, reigning-queen-resident of the Sunday institution Horse Meat Disco and supporting on wax.

NB: also of note, but more on the minimal tip, is Mobilee head honcho Anja Schneider, who plays at the DDD night at East Village (10pm - 4am).

Saya -- main songwriter and vocalist with Tenniscoats -- is a rare visitor to these shores. Following on from two understated albums by Tenniscoats last year on the Swedish Hapna label (Tan-Tan Therapy) and Australian Room40 (Totemo Aimasho which loosely translates as "Lets Meet Very Much" ), Saya's brand of quiet understated psychedelic pop has lead her to more recent collaborations with both The Pastels and Deerhoof's Satomi, due to appear later this year. Based in the outer suburbs of Tokyo with her partner Takashi Ueno (Tenniscoats' guitarist/saxophonist), Satya is also one of the key catalystic movers in the Japanese underground pop scene, organising shows and giving younger musicians opportunities. Tenniscoats blend an avant-garde aesthetic (detuned pianos, woodwind instruments and distorted synthesizers) with accessible and listenable vignettes, wearing influences from artists such as Fennesz, Scandinavia's Tape, and a new folk sensibility. An evening of contemplative and restrained playfulness.

NB: this concert is the inaugural show of Dalston's latest live performance space.

Before being poached by Hollywood, Alfred Hitchcock honed his suspense-filled thrillers to perfection with stints at the now defunct Denham and Gainsborough studios. These early black and white thrillers displayed all the evidence of a unique and canny intelligence at play. His 1935 adaptation of John Buchan's ripping yarn The 39 Steps introduced moviegoers to the improbable adventures of one Richard Hannay. The script was written by long-trusted collaborator Charles Bennett, who delights in providing the unexpected and giving the audience just a little more than they hoped for. The BFI have a restored print of the film and are showing it as part of a season celebrating the work of British screen actor Robert Donat (11/04 till 01/05), an actor noted for his seemingly classless neutrality, portraying characters as neither posh fops nor common proles but as individual possessors of fine wit and dignity, swept up by peculiar circumstances beyond their control.

NB: The 39 Steps is re-released in London on 11/04. Other films of note released on the same date are Scorsese's Shine A Light and Catherine Breillat's The Last Mistress. Keep in mind the special Q&A screening of Joy Division on 24/04 with both Stephen Morris and writer Jon Savage.

What the heck does make a design icon, eh? Celebrity endorsement -- Christine Keeler astride an Arne Jacobsen chair? A starring role in a film -- the VW Beetle? Is it longevity in a fickle industry -- Louboutin's red soles? Or knock-your-socks-off visual impact -- The Gherkin, say? Is it familiarity and complete absorption into daily life -- a milk carton? Or is it cultural signification -- a ban the bomb logo? Is there a checklist at all? (And if there is, goddammit, will someone print one out for us so we can get creating?). And do designers think about creating something iconic when they are at work? And do they worry if they don't succeed? Drawn into such a discussion (perhaps without the petulant foot stamping, and lack of answers) are dashing French fashion designer Roland Mouret (beauty); the Design Museum's head honcho Deyan Sudjic (brains); and Matteo Alessi of, yep, plastic man corkscrew fame (brawn -- oh ok, that's pushing it, but Alessi gadgets do things, don't they?). It's a cleverly assembled trio, and it should be interesting to see them bounce ideas around.

NB: this event takes place at the Harrods Loading Bay, Trevor Square, off Lancelot Place.

Last time Heiner Goebbels was in town his ambitious work Hashirigaki (2002) mixed up Gertrude Stein with The Beach Boys and traditional Japanese music, and Matthew Locke's Baroque world with Leonardo da Vinci in Songs Of Wars I Have Seen (2007), his art defying definition or categorisation, flowing with an instinctual sense of connection and purpose. His highly intellectualised and literate theatrical projects link time, history, the borders of knowledge and classicism and it's no surprise that Stifter's Dinge, his new production with Artangel, unites the voices of Claude Levi-Strauss, William S Burroughs and Malcolm X in an abstracted narrative. Set in the cavernous space of P3 -- a former construction hall where concrete resistance was tested for the building of the M1 motorway, Goebbels' installation will choreograph mechanical objects, weather, text and image in a series of chain reactions, creating an impressionistic work that should capture you in its spell. Just watch out for the five grand pianos suspended overhead.

NB: runs till 27/04. This event is likely to sell out so be buy your tickets in advance.

For this programme -- curiously entitled Invented Worlds -- the London Sinfonietta premieres works by Michael Jarrell for double bass, electronics and ensemble and Karin Rehnqvist's Embrace Me for ensemble and chorus, a soul-searching piece of music written after her personal experiences of the Asian Tsunami in December 2004. It should be noted that Jarrell is no stranger to electronics having studied and worked at IRCAM in the late '80s, although it will be interesting to see whether this work has anything new to offer in an increasingly electronica-savvy environment. Book-ending the proceedings will be no less notable performances of Michael Finnissy's Contretanze and Iannis Xenakis' Jalons rounding off what is undoutably as wider ranging survey of modern music as one could hope for in one sitting. Quite why the overarching title for the evening was chosen remains a mystery, but it was presumably not selected with the Asian Tsunami in mind.

Over the years, Amikam Toren, in his own Leonard Cohen kinda way, has been making his art sing with a kind of worldly wisdom. His thoughtful and witty conceptual objects have been a source of cheeky gravitas. This time, in perhaps a late style, Toren is offering us anecdotes and observations through a computer screen. A very clean desktop -- as opposed to his usual earthy found objects -- offers us a series of anecdotes told through a still shot and a warm voiceover. These are short tales reflecting the banality of city life and offer us insight into Toren as a storyteller and observer. We see the setting of the narrative, but not the individual events, and so the video serves as a memory of the place rather than the narrator. These Haiku-like narratives open up spaces for thinking. But what is to be thought is very much up to you, dear Flasher.

NB: runs till 19/04.

Following a sold-out run at the Edinburgh Festival in 2007, Mark Ravenhill's ambitious cycle of 17 short plays exploring tensions between the concept of war on terrorism and commercialism in western civilisation finally comes to London. Ravenhill describes Shoot / Get Treasure / Repeat as a modern classic for an iPod generation with a taste for both the epic and the quick fix. The audience may pick and mix these 20-minute plays in any order to create a Ravenhill "drama party shuffle". The plays, spreading across four London venues, including Royal Court, National Theatre, Gate Theatre and Village Underground -- a Victorian warehouse in Shoreditch -- are presented at different times and dates throughout April. There is no particular order to the cycle and you have the choice of seeing all or just a selection. Each play is named after a well-known epic, with the choice of title ranging from popular culture classics to ancient Greek drama. The series guarantees a five-star cast and leading UK directors, joining forces to bring London audiences a completely new concept of theatre in instalments.

NB: runs from now till 20/04.

If Australian's Cut Copy didn't already have enough going for them, being signed to Modular Recodings (possibly the hottest label around at the moment), then the stars have really aligned for them with the release of their new album , which is produced by New York's finest, DFA Records. It's hard to think of a combination that could have more hipster mouths dribbling with anticipation; judging from the previews of the band's MySpace page the results, this Zeitgeist-surfing blend of psychedelic pop, new wave, disco and punk-funk, will more than live up to expectations and its widescreen sound should translate well to the big stages at the summer's festivals. For those of you that missed them at Frabric back in February you can get a taster this month as they touchdown in Europe for a series of four shows to promote the album, including one at the Scala which will sell out early. Get there quick...

First we had Control, Anton Corbijn's much-lauded dramatisation of the life of front-man Ian Curtis, and now we have Jon Savage's Joy Division, a documentary examining the band's history from small-town group to big-name success and eventually the suicide of its singer. Two feature-length works in the space of 12 months and critics have argued that the attention is excessive. Indeed, given the potency and air of finality achieved by Corbijn, it would appear that there is little left to say about Curtis and his bandmates. Yet Savage has accomplished a perfect counterbalance to Control. Corbijn's film relies heavily on the memoirs of Curtis' widow, Deborah, and as such some voices are lost from the narrative. Savage's work presents poignant interviews with all the leading protagonists, including Curtis' mistress Annik Honore (speaking for the first time about her relationship with the singer). In addition to these frank and insightful interviews, Savage's scouring of the archives has produced an array of never-seen-before live footage, a much-discussed tape recording of Bernard Sumner hypnotising Curtis and two fascinating super 8 films from the late '70s. These interviews and discoveries offset Corbijn's work and reinvigorate a story which some argue is becoming over-familiar.

NB: Joy Division is released in London on 02/05. Films of note released this week are Scorsese's Shine A Light, Hitchcock's The 39 Steps and Catherine Breillat's The Last Mistress.

Over the last few years Arcola has changed from a small receiving venue into an ambitious independent producing house. In the spring season the artistic director Mehmet Ergen takes on the rigorous challenge of staging two Ibsen plays in two months. An Enemy Of The People, Ibsen's realistic play criticising capitalist status quo over the well-being of an individual, seems as relevant as ever in our profit-focused society that is shaped hand in hand by politicians and the super rich. Greg Hicks' performance as Dr Stockmann, an idealist who stands against the society of a small town in Southern Norway to protect his shocking discovery, is so convincing that it almost makes the audience support yet another social revolution. Ergen manages to pull together a strong cast, but his production diminishes somewhat the greatness of Ibsen's text and sometimes lets the cast down by locking their performances within too-tight domestic boundaries. Still, it's a very powerful piece of writing that stands the test of time brilliantly.

NB: runs till 26/04.

An ad executive with a brand in distress could do worse than give Bob Greenberg a call. He started his firm R/GA with his brother Richard in New York as a modest video production business in the mid-'70s, that later came to offer visual design. In its current incarnation, the firm is often the brains behind the most innovative interactive advertising. R/GA's output has become a byword for slick multiple-channel cross-platform communication. In its early days, a small and tight-knit team allowed R/GA to respond quickly to the fickle nature of client demands. Now with clients such as Nokia, Nike, The Federal Reserve and Reuters, Greenberg's hand has graced as many company campaigns as it has cradled prestigious advertising awards. The man is in town to talk at London's Logan Hall in Bloomsbury Fortune 500 at the behest of D&AD to discuss his life in the business and hopefully comment on the future of this rapidly evolving industry.

If you needed yet more proof of the ever-tightening relationship between art and the fairground, White Cube's current show -- You Dig The Tunnel, I'll Hide The Soil -- will have you convinced. Staged in anticipation of the bicentenary of Edgar Allan Poe (2009), the show, curated by artist and writer Harland Miller, brings together work by resident "Cube" and other artists with a penchant for the dark side. Spread across the Hoxton Square space and the labyrinthine basement (or crypt, if you prefer) of Shoreditch Town Hall, this show has more than a hint of the ghost-train about it. Though some feels gimmicky, much of the work on show -- especially the astounding installations by Mike Nelson, Anselm Kiefer and Christian Marclay -- engages thoughtfully with many of the Gothic themes in Poe's works, providing narratives that ratchet up the tension and frequently deliver unnerving shocks. Prepare yourselves for a heart with an eye embedded in it, terrifying portraits of 19th century figures with eyes that seem to follow you and a child's bed soaked in claret-coloured paint. You've been warned...

NB: runs till 10/05.

All Tomorrow's Parties seem to be getting bigger and bigger, what with their artist-led festival, curation and bringing great acts and albums back from the dead, they've been bombarding London with fantastic acts for quite a while now. Formed from an "All-Star" line-up of musicians from backgrounds ranging from hardcore to free improvisation, the math/post/avant/prog rock group Battles headline. Their combination of bionically tight rhythms and catchy use of electronically shredded sounds is immediate, bouncy and danceable (if the audience can get past stroking their beards), but also complex and engaging -- their use of technology drags the retrospective thinking of rock music back into the 21st century. Support comes from their long time Warp stablemate Prefuse 73 (replacing Liars) and Fuck Buttons step up to the big stage to bring us their joyous noise.

NB: move fast as this gig is almost sold out.

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