Gregg Bordowitz's videos have been widely shown internationally and his practice is inspiring not only for traversing the roles of activist, artist, writer and performer, but because it is lived as habit, embodied in both Bordowitz and in his conviction that art can still change the world. In his recent anthology The AIDS Crisis Is Ridiculous And Other Writings, 1986-2003 he describes his response to the HIV epidemic: "So total was the burden of illness -- mine and others' -- that the only viable response, other than to cease making art entirely, was to adjust to the gravity of the predicament by using the crisis as a lens," In never ceasing to turn the conditions structuring his life into a lens through which to challenge the political basis of such conditions, Bordowitz's work evidences his attempts to live theory as practice while never omitting all of the personal difficulties and contradictions that this endeavor entails. His writings manifest his refusal to create a border between the personal and the political: After all, he says, "If it can be written, then it can be realized."

NB: this event is free but booking is essential via salon@lux.org.uk. Gregg Bordowitz will be in conversation with LUX assistant director Mike Sperlinger. Bordowitz's work is on view at the new LUX 28 space from 28/05 till 31/05.

The London Musicians Collective, responsible for the impossibly fantastic Resonance FM, have branded this mini-festival as either a wake or celebration of their (financial) travails. Present these nights is a mind-boggling line-up of LMC stalwarts and fresh-faced visitors to their world of improv, lyrical noise and sheer bloody-mindedness, all at Cafe Oto, already rapidly becoming a vital new venue in North London. Though the event kicks off on Wednesday (with Evan Parker, Tom Chant and others), Thursday sees energetic theorist and percussionist Chris Cutler, up against the organic plunderphonics of John Wall, and radical sound artist and Pogues-person, Jem Finer. They are joined, on "bio-feedback", with some multimedia electroacoustics from Oscillatorial Binnage. On friday the highlight will be the sublime saxophonist John Butcher colliding with Toshimaru Nakamura on his infamous "no-input mixing desk", and accompanied by Louisa Martin, the enigmatic FURT, John Lely's audio experiments and new video work by exemplary artist Christian Marclay. At least this appears not to be the final of the last!

NB: runs from 28/05 till 30/05.

Berlin's Panoramabar is said to be the easiest place in the city to lose yourself for a whole weekend. Only the truly disciplined could be expected to keep their heads in the early hours of a Saturday morning, let alone pick out a rough cut of a new track several hours into a Laurent Garnier set. Step forward Steffen Berkhahn, better known at the controls as Dixon. Having been forced to sit on his hands for three hours as Garnier extended his stay behind the decks, Berlin resident Dixon dived on his creative alma mater once he heard Back To My Roots for the first time and promptly persuaded him to release his first 12" in five years on his Innervisions label. Appearing alongside a fellow geek is very much in the state remit of neighbourly duo Ame -- who say they're resisting being adopted as the latest haustiere of the German capital's frenzied minimal scene by living in Karlsruhe. Avoiding the glare of publicity is a fate they've struggled to avoid, unsurprisingly, and dropping into town for the second time in just over a month will do little to put the brakes on the hype machine. It will be dark, more than likely a bit sweaty but even the venerable Tim Goldsworthy agrees that there are few places that deliver as dedicated a crowd as Plastic People. Anoraks of the world unite.

Jules et Jim, perhaps Francois Truffaut's best-known film, is getting an airing this month as part of a Jeanne Moreau retrospective . A New Wave masterpiece, Jules et Jim tracks the life of a pair of best friends who become involved in a menage a trois with the beautiful but unstable Catherine, enacted to perfection by Moreau. Played out among Paris' ante-bellum bohemian cafes, chalets in Austria after the war and later again in cafes and theatres in France, Jules et Jim's story is propelled by Catherine's oscillating attachments to both. Initially a study in kooky bohemianism, Moreau's character takes a turn for the dark side at end of the film, where her obsessions force her to terminate the threesome forever. Though inspiring a dozen lesser imitators, Moreau's Catherine is the real, unorthodox deal -- never pretentious (even when she claims to have fantasized about Napoleon in an elevator) and always alluringly inscrutable. The BFI is honouring the French actress and style icon on her 80th birthday by screening Jules et Jim across the UK and other films she starred in at the BFI, including Luis Bunuel's Diary Of A Chambermaid.

NB: Jules et Jim is re-released in London on 30/05.

OK, so we weren't entirely aware that there was an art to confessing per se, but for those who've become rather proficient at it -- after years spent pinching food from the communal fridge at work, nicking their flatmate's clothes and kissing people they really shouldn't -- we've found your calling, and it's at one of the V&A's late night shindigs. This one, supported by BAD IDEA magazine, aims to alchemise those dirty little secrets into creative golden nuggets. Immortalise your confessions by working them into a short story, the best of which will be printed in the Tell All pamphlet; storyboard your shameful tales and turn them into a comic strip; sit at a school desk and scribble a confessional note, which could then be confiscated by roving actors made into a mini-play; pour your heart our on your own blog; or go to the confessional booth, constructed by KF favourites, the illustrators and photographers at ContainerPLUS (of the haunted house and enchanted forest in Hackney) and divulge your darkest truths the old fashioned Catholic way and wait for the marionettes and illustrations to act out your path to redemption. Confessing has all the lustre of committing the sins in the first place -- go do it.

Irregular indie rave The Insomniac's Ball is back under the arches at seOne this weekend, this time with a hefty five rooms of cutting edge indie and dance music, more than enough to keep even the most ADD-afflicted teenager happy. Headliners Joe Lean and the Jing Jang Jong, widely tipped in all of last year's backslapping round-ups, are worth checking out but the real live draw are The Ghost Frequency, one of the few bands to actually combine a hardcore punk aesthetic, hints of rockabilly and electronic dance music with any kind of success in recent years. For those who like a spot of proper dance music to keep them going until 6am, Adventures Close to Home are on hand with a room boasting the likes of Riton, Radioclit and Parisian superstar DJ Orgasmic while Camden's Be crowd are represented by Kitsune's Punks Jump Up, who will no doubt supply you with all the sleazy disco punk sounds your heart could desire. Throw in burlesque acts, cabaret performances and various strange goings on and there's plenty for your eyes as well as your ears and all for under a tenner -- a price you certainly wont lose any sleep over.

In the reception area of the SLG, an assistant wears an all-white vintage Adidas tracksuit that has been subtly embroidered with red bloodstains. The work titled This Consequence sets the tone for Ryan Gander's exhibition, posing questions that require the viewer to fill in the blanks. A printed map featuring roads that don't exist any more; a discarded and crumpled punch-line from a Christmas cracker, curiously missing the start of the joke; and one hundred laser-etched crystal balls that lie scattered around the main gallery space in A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, are all among some of the works in the show. With humour and wit, Gander draws inspiration from architecture, art history and the idiosyncrasies of everyday life. He sets out a trail of breadcrumbs and it is our decision whether to follow or not. Heralded As The New Black is a great show that teases you and leaves you wanting to know more.

NB: runs till 22/06. On 15/06 (2pm) catch Ryan Gander in conversation with Josephine Flynn and Richard Wentworth.

This is a beautifully crafted picture, directed and written by Roger Goldby, that tells of love, infidelity, commitments, relationships and what might not have been; we were bowled over by the script, the exceptional performances and by its gentle yet assured subtlety. Anne- Marie Duff stars as single mother, Anna, who, having separated from her children's presenter hubbie, is having it away with her rather loathsome next-door-neighbour George, brilliantly rendered by Rupert Graves, who is also the significant other of her good friend Jem (Zoe Telford). And then we have Ralf Little who delivers a top turn as Stephen the geeky carer, who works in an old people's home and is trapped in a dead-end relationship, the close of which is ushered by the question all men fear -- "When are we going to have kids?" Many might say that nothing much happens -- there are no overwhelming dramas here -- but that is perhaps its strength; we all can empathize with the quietly developed situations at hand. A work that almost defies categorization, it took the director six years to raise the money to make it, which in our opinion was well worth the wait.

NB: after this preview screening catch Roger Goldby in conversation with the film's producer Sarah Sulick. The Waiting Room is released in London on 06/06.

Bit of an odd one this -- Andy Butler, known to readers of the Observer Music Monthly as Hercules And Love Affair, takes a break from their tour to play records at a Bloggers Delight event on a Monday evening in New Cross. This sort of thing goes on in New York right? Sweaty disco workouts in an East Village bar on a school night? Let's all welcome a touch of bohemia to South London. After all it wasn't so long ago that a good Monday night out in New Cross consisted of a few pints of tepid lager while eyeing up the Irish barmaid with the freckles in the Marquis Of Granby, followed by some Morleys Chicken on the bus home. Thankfully, since the Amersham Arms was taken over by the Beetroot Adventurers, some much needed musical variety has been injected into the area. While the handbag disco of "Blind" has become a wetherspoons favourite, there is much more to Hercules And Love Affair than providing some nice arrangements for Anthony Hegarty to bellow over (check the early release on DFA "Classique #2" for evidence) and Butler has plenty of quality disco in his record bag. Joining him are the Disco Bloodbath residents, whose night in Dalston is the best kept secret in London -- though gigs like this mean that'll surely change soon.

NB: catch Hercules And Love Affair in concert at Heaven on 05/06 (8pm).

The Red Ladies cometh! Clothed in sharply tailored garments and that most important of accessories, the red stiletto. It may seem an innocuous item but the street wise female Londoner knows the stiletto's potential to inflict serious bodily harm on any daring assailant; one of the top instruments in their arsenal of legitimate weaponry. Their promo blurb reads: "Do these stiletto's pose a threat to national security?" Framed by this context, they place world events in the milieu of the everyday, offering via their performance work war with a side of onion tart. Their practice is split into inside and outside missions. Their appropriation of inside spaces as temporary Red Ladies HQs contrasts with their outside missions, in which they try to interrupt the urban environment. Mysteriously appearing on buildings or crowding city streets they, act as silent voyeurs, eerily observing our behaviour. This most successful venture from The Clod Ensemble explores ideas of communication and the group dynamics of the crowd, creating new ground and contexts for how we understand communality.

NB: catch the Red Ladies on both 03/06 and 04/06.

There is an old-school chronicle, submerged half in fantasy, of the jazz man at the crossroads who sells his soul in exchange for the gift of wild jazz. But there is some truth to this parable, as many of the greatest jazz musicians in the middle of the 20th century were cursed not only with drug problems, but with what some would call "interesting times", or circumstances that weren't predicated on routine or redress and that often lead to a general state of discord. Trumpet legend Chet Baker was one of those musicians who, gifted beyond his contemporaries, was both driven and distracted, dedicated and set adrift in the cross-Atlantic world of music and personal undoing. Let's Get Lost is more cinematic portrait than biography, its affectations deeply rooted in the conventions of photography and fantasy. Released 20 years after both its original completion and Baker's untimely and tragic death, this film is disarmingly contemporary in its incongruity with other films of a similar ilk (read: musical biopic) and in its incredible moorings in the actualities of the musician's life.

NB: Bruce Weber, famed photographer and filmmaker will be available after the screening for a Q&A. On 14/06 (6pm), catch a selection of his shorts and on 15/06 (3pm) his debut feature Broken Noses. These three screenings have been programmed in conjunction with an ongoing exhibition of his photos at the Curzon Soho.

Although Cartoon de Salvo was founded only in 1997, it has already managed to establish itself on the British theatre scene and build up a loyal group of followers. Derived from mixed traditions of physical, devised and non-text-based theatre companies such as Improbable, Told by an Idiot and Complicite, Cartoon de Salvo have fine tuned their work on concepts of improvised theatre, now widely used by some of the experimental performance groups in the United States. Their new project, branded Hard Hearted Hannah And Other Stories, can scarcely be described in a single review: it is completely different each night it is staged. Three performers appear on the stage of the Lyric Hammersmith studio not exactly sure what might happen next. Taking as their starting- points suggestions from the audience and a choice of three songs from a set list of ten, they embark on improvising a full-length play with subjects as far-ranging as an updated take on Pinter's The Birthday Party to a science-fiction intergalactic drama -- a genre yet to be discovered. The effect is extremely funny, dangerous, unexpected and highly imaginative.

NB: runs till 07/06.

Judging by the fuss made by London Underground over Lucas Cranach the Elder (1472-1553), you'd think he was a saucy painter a la John Currin. This is not quite an exaggeration of fact -- come to the end of this show and you'll find a wall of waifs wearing nothing but lacy veils. Perhaps you know his Venus in the Louvre, The Judgement Of Paris at the Met or his Adam And Eve -- well now's your chance to put a name to these images. Cranach's works are well-ordered, little gems of paintings. He was named after his home town of Kronach in Southern Germany and became a court painter in later life. Do not be swayed by the luminous colours in his oil and tempera paintings, rather take the opportunity to notice the delicacy of line and intricate structuring in his etchings. A close friend of Martin Luther and peer of Michelangelo and Durer, Cranach often expressed Luther's Protestant ideals in his outstanding work -- go see.

NB: runs till 08/06.

To the geniuses who invented Silent Disco, we salute you. Never has there been a more triumphant middle finger shoved in the face of the noise police. Originally born out of consideration for wildlife affected by noisy outdoor raves, the Silent Disco phenomenon sprung up at Glastonbury 2005, allowing the hungry-for-more festival folk to carry on the party well after bedtime. Since then, Silent Disco has been regularly satisfying dirty little fun-havers nationwide. The set up is thrillingly simple: in one room (or tent if you're at Glasto) you've got a DJ with hundreds of merry ravers each getting their freak on to the tunes pumping through their very own wireless headphones. And the beauty of it is, the room remains relatively silent, bar the odd chorus outburst here and there. As part of Meltdown 2008, the Southbank Centre has lined up Massive Attack's Daddy G to provide the beats on their riverside open-air terrace. It promises to be a unique and unifying experience.

NB: also catch Silent Disco on 14/06 (with James Lavelle), 19/06 (with Peaches), 20/06 (with Kieran Hebden) and finally on 21/06 (with Andrew Weatherall).

If only Moriceau + Mrzyk could do the title sequence to a James Bond flick; the surreal pneumatic eroticism that underlies their black and white illustrative drawings might add another dimension to that most British of superheroes. With exhibitions titled Quantum Of Solace and Golden Eyes, what else could their work be but a clever nod to the ever-reliable 007? Not unlike Raymond Pettibon, this cartoony imagery tainted by BD culture is transformed by the French duo into this most graphic of installation art. Arriving at each venue with transparencies in hand, they proceed to project and trace each installation into being; hence each space provides its own unique experience. Unlike On Her Majesty's Secret Service, this time they've not created a singular environment; instead, with drawings in round frames and circular motifs, this show is closer in spirit to the morphing surrealism found in their music videos -- not to mention Bond's famous gun barrel.

It's a bloody struggle, being good. And you sure as hell can't be good all the time, no matter how pure your soul is. Such is the problem faced by Shen Te (Jane Horrocks), a prostitute in Szechuan, who is given money by the Gods after she shows them hospitality in a god-forsaken world. But her kindness and newfound wealth set her up as prey to every freeloader and con artist in town. It's only when her cousin, the hard-hearted businessman Shui Ta (in fact her alter ego), visits that she's saved from her better self. Brecht's Marxist parable uncompromisingly pits altruism against capitalism. It doesn't make for easy viewing, that's for sure, but this production merges fun with bleak fantasy. The auditorium is boarded up with plywood; entrance is via labyrinthine passages that spit you out on the stage, where a lime green portacabin and a series of gym lockers (which prove to be house front doors) are the only real set decoration, plus a piano (used for cacophonous misanthropic ditties) and some shiny Chinese banners. Like the set, the costumes evoke trailer trash hopelessness, all grease-stained, grubby clothes, matted hair and cigarettes. It's a gleefully gross world where goodness is a death sentence. A weird, awkward, but unexpectedly funny play -- certainly one to mull over.

NB: runs till 28/05.

With densely packed, textured surfaces, scrawly brushwork and assaulting colours, this exhibition feels like the showcase of an artist gently gnawing away at the edges of chaos. Yet with a self-imposed seven colour palette restriction consisting of black, white, pink, green, red, yellow and brown, and set dimensions, Tal R steps back -- just -- from the brink of anarchy. These rules have infused the Israeli/Dane's work for a while, as evinced in his exhibition House Of Prince in Dublin and Berlin and his last display at Victoria Miro. He works with the materiality of paint, the dynamic between the centre to periphery of the canvas, the immediacy of the brush-mark. The 200 etchings that accompany his large-scale works give an insight into Tal R's language and the sheer force of exuberance with which he dispenses paint. He greedily gobbles up a whole spectrum of art history, playing with Munch, Matisse, Picasso and the traditional habitat of the artist's studio, like casual playthings. There is darkness here too, in looming figures, shadowy black paint, viewless windows and repetitive grids. It's haptic, dirty and hits you in the guts.

NB: runs till 29/06.

"We all live in buildings and wear clothes", states the exhibition programme. Well, we could have told you that. But the point being made actually goes a little deeper, and it is this: there is a place where fashion and architecture converge, where the metaphor for the body as house becomes real. It is a simple concept, but one that requires a little mental labour in order to grasp it fully. It's an idea that has been trotted out over the centuries: Plato, Descartes, Freud and Foucault have all written in a metaphorically corporeal vein. Indeed, terms such as "blind alleys" and "the walls have ears" articulate the very parallels that fuse fashion (and its attachment to the body) with architecture. How appropriate, also, that the world of haute couture is categorised by "fashion houses". The conceptual leap becomes more of a short hop on entering the exhibition. Formal resonances are clear; particularly in the structural garments of Japanese fashion giants Issey Miyake and Yohji Yamamoto, while Herzog & de Meuron's stadium for the Beijing Olympics could be one long ribbon of steel plaited into a giant bird's nest. This will make for a fascinating look at the marriage point of two disciplines.

NB: runs till 10/08.

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