Trying to pin Richard Prince down is like trying to staple jelly to a wall. Renowned for not giving straight answers in interviews, Prince is a master of disguise, a trickster, a con man. His work too defies identification -- sliding between photography, painting and sculpture, Prince appropriates (he openly calls it "stealing") pop culture, pulp fiction and celebrity to the deliberate detriment of his own authorship. He describes his early experiments in rephotography (where he photographed photographs from magazines) as "like fucking a picture", a kind of sexual capturing of another image; and "like dee-jaying... Spinning the records". A shape-shifter extraordinaire, Prince moves between music, photography and sex; between senses and sensuality. Richard Prince: Continuation is his first major exhibition in the UK, which he himself is curating along with gallery director, Julia Peyton- Jones, co-director Hans Ulrich Obrist and curator, Kathryn Rattee. New works will hang alongside the highlights of Prince's backlist, spanning an impressive 30-year career. A programme of classic films, chosen by Prince, will also be screened by the Serpentine Lake and in the Frank Gehry designed Pavilion. Unmissable viewing, particularly for anyone who's been living under a rock for the past 30 years.

NB: runs till 07/09. Also of note are Gagosian Gallery's two Richard Prince shows: Nurse Paintings at the Davies Street branch and Four Blue Cowboys at the Rome branch (both run till 08/08).

One of the major successes of this spring's South By Southwest festival, Austin, Texas trio White Denim are the latest clued-up American rockers with a great record collection to get UK critics hot under their collective collar. Their prog-via-'60s garage combo, yin to The Beach Boys-via-David Crosby, and yang of Seattle's Fleet Foxes, WD proffer eclecticism as a badge of honour. Their debut album, Workout Holiday (Full Time Hobby), merrily embraces the influences of The Rolling Stones, King Crimson, Randy Newman and more. That it was recorded piecemeal in drummer Joshua Block's caravan between full-time job commitments only adds to the record's decidedly unorthodox allure. Live, WD appear to be constantly teetering on the brink of implosion -- bearded singer/guitarist James Petralli apparently making some of it up as he goes along, before ploughing back into another complicated twiddly prog guitar detour; quite a spectacle, in other words. Foals and Battles fans who have yet to be alerted to WD are advised to form an orderly queue.

NB: you can also catch White Denim at Cargo on 03/07.

Re-enacting a fourteenth century historical painting may not be high on your list of ways to spend a Saturday, but something as wild and wacky as this surely beats mundane weekend chores. At Table is a performance over an afternoon in which participants will re-create the poses and looks of characters in a painting, stepping onto a dressed set and taking their direction from an image of the original work. Live music will accompany the performance, as singer and fellow re-enactor, Muriel Louveau, sings you onto the set in a carefully choreographed musical turn. Budding amateur thesps take note -- borrowing from the world of film, there will be a chance for you to rehearse and evolve your character throughout the afternoon, and, to convince friends, neighbours and relatives of your exploits, a photograph of the re-enactment will be provided. There will also be a film of the performance to follow. The brains behind the operation Ann-Marie LeQuesne has worked on a range of projects around the "re-enactment", examining in the process our interest in public events and historical narrative and the role of the spectator. For Shoot (2001) her participants re-enacted a photograph of the execution of Emperor Maximilian that was subsequently displayed at Gasworks.

NB: re-enactments will take place at 2pm, 3pm, 4pm and 5pm.

The ICA has played host to some of the art world's more spontaneous combustions over the years. Ambitiously they're upping the ante with this one-night transformation as the gallery, theatre, bar and even cinema become Nightclub, promising beat-driven cataclysmic adventure across the whole ground floor -- amazingly until 4am. No half- hearted gesture, the full-on line-up condenses three club nights under one roof with legendary heavyweight techno night Lost, pleasure-seekers and missionaries of the Italo disco revival Cocadisco and architects of the post-rave apocalypse Nuke Them All!. Add to this "exhibition" the explosive stage performances of Brooklyn tribal futurist art-noise band Gang Gang Dance, The Fall-inflected Prinzhorn Dance School, and dark metallo duo Heartbreak, with interventions from Matthew Stone of !WOWOW! featuring club icon Princess Julia and it seems like an open invitation to hedonistic disorder. It's thrilling to see an arts institution embrace this kind of conceptual chaos. Absolutely unmissable.

NB: for Gang Gang Dance fans catch them at Cargo too on 29/06 (7pm).

Having waved goodbye to London nightclub institution Turnmills at Easter, Together resurface at the suitably cavernous Scala and hope to suceed where Chalk failed at making it an essential weekend venue. Their opening night is a clear statement of intent. Obviously the Ed Banger tag team of Busy P and DJ Mehdi will draw a big crowd, despite the French label starting to believe its own hype (with Busy P being the human embodiment -- his new EP is called Pedrophilia for chrissakes!) but Mehdi is a finely tuned party DJ. There is the added bonus of much-vaunted house/techno hybrid Dusty Kid performing live in the main room. Should you wish to escape from the masses of gaudy milkcrate tee-wearing boys begging for "Waters Of Nazareth" to get played there is plenty of fun to be had elsewhere. Together residents, and recent Kitsune signings Streetlife DJs host a room and continue the gallic love with Yuksek and Surkin playing, while down in the Dollop room, the rising star that is Boy 8-Bit gets to demonstrate why Diplo singed him to Mad Decent. Should you be unhappy with how your pre-club coiffure session went, you can also take advantage of the free haircuts on offer.

Normally the name Ricardo Villalobos would be enough to give a Saturday night legs, obviously for minimal enthusiasts but also for anyone with an interest in seeing one of the top exponents of a genre do their thing. If you're in the former category, take note of the fact that Spectral's latest Detroit-raised, Berlin pilgrim prodigy Seth Troxler will also be playing and you'll soon be conjuring up images of the baton being smoothly passed down the ranks. If you're expecting to stop in on Room Two as a genre tourist, prepare for a truly emphatic reassurance that the selection elsewhere is anything but filler. The new generation of San Francisco-born deep electro house -- in itself worthy of a headline on any other night -- gets suitably du jour representation from recent hit maker Claude VonStroke and Justin Martin. Though the more soft sounding and experimental wares usually fail to make it out of Fabric's Room Three, nevertheless there will be some fairly mighty exponents crammed in there on the night. Ex Soho record shop owner turned Balearic spinner Pete Herbert will find himself battling for attention with the elusive duo Faze Action, who specialise in pulling in an absurdly wide range of styles into the house bracket.

The minor key in music raises associations with melancholy and mystery, heartbreakingly poignant and yet as often ominous and portentous. The work of both German-born Max Richter and Icelandic-born Johann Johannsson explore an economy of composition, drawing around the minor key melody with flourishes and faded colour, sketching harmonies and sequences that produce lilting and lean works of a keening luminosity. Previewing work from Richter's forthcoming 24 Postcards In Full Colour (FatCat), his chamber pieces draw parallels with Brian Eno, Philip Glass, Arvo Part and The Durutti Column in their elegance and atmosphere. Utilising samples and electronic textures, their grainy piano-led narratives curve into space as if out of time, darkened by the blurry shadows of Chopin and Dowland. Johannsson offers a murkier, foggy landscape, creating stately and densely woven repetitive works that again combine electronics with traditional instrumentation. Wounded and patient, the work rewards for its commitment to a bittersweet and leisurely pace. An evening in which to relinquish your spirit to greater forces.

Following the success of The Bee (2006), Japanese director Hideki Noda returns to the Soho Theatre with The Diver, the fourth installment in his series of contemporary Noh plays. The Diver's narrative may seem a bit confusing, but Noda's beautiful visual style, supported by Catherine Chapman's bewildering design, totally makes up for any literary gaps in the text. Noda's aesthetics are deeply rooted in the tradition of Kabuki theatre, Haruki Murakami's magical realism and modern media-dominated Japanese culture. This mixture of visual style and language makes The Diver a truly powerful and disturbing theatrical experience. Kathryn Hunter's performance as the rejected lover, whose identity shifts from an 11th century courtesan from The Tale Of Genji, to a modern character driven to madness and crime by unconditional love, is truly moving. It's hard to imagine anybody else but Hunter in this role. The play offers a fascinating picture of love over the centuries focusing on the emotional suffering of the mistress within the Japanese tradition. It's a demanding but rewarding evening.

NB: runs till 19/07.

The BFI are offering a rare chance to see the entire catalogue of Guy Maddin's films including his latest, the "docu-fantasia" My Winnipeg, premiering during the retrospective. Often difficult to access as only a few titles are available on DVD, his films are best viewed on the big screen, allowing you to become immersed in his completely fantastical world. The black and white, silent-style films share more than just aesthetic similarities -- Maddin is an auteur who consistently produces hallucinogenic, rather crazed semi- autobiographical tales -- in some cases going as far as featuring characters named "Guy Maddin" (Cowards Bend The Knee, Brand Upon The Brain!). Featuring snow, obsessed lovers, beer, ice hockey and hairdressing salons, Maddin's explorations of repressed love (Careful), family relationships (Brand Upon The Brain!) and cultural identity (The Saddest Music In The World) have attracted quirky actresses Isabella Rossellini, Shelly Duvall and Maria de Medieros, alongside his core group of actors. Referencing a wide range of genres -- war, noir, expressionist, fantasy and "mountain" movies -- his films defy categorisation, and will continue to resonate in your mind, like a "brand upon the brain", long after you've seen them.

NB: runs till 23/07. Make sure you catch Guy Madden on 01/07 (7pm) when he gives a live narration to My Winnipeg and in conversation on 02/07 (8:45pm).

It's widely acknowledged that the poor critical reaction Brian Wilson's follow-ups to Pet Sounds received was one of the main triggers for his descent into deep depression and withdrawal, but for a man so acutely sensitive to crowd reaction, he obviously has some trust in the tastes of Londoners. He debuted the psychedelic tour de force SMiLE over here in Blighty, as well as his upcoming That Lucky Old Sun at the Royal Festival Hall, and has since reclaimed his place as Phil Spector's only living rival as a developer of sublime pop sounds. Indeed, the fates of the two couldn't be further apart now, as Wilson is taking some time out from painstakingly rebuilding his creative energies to play some of his greatest hits at the Royal Albert Hall. Not bad timing given the creeping infiltration of psych across electronic and indie genres, but everyone from Pink Floyd through to young turks like Animal Collective and MGMT rightfully credit Wilson as one of, if not the, alma mater. All the plum seats are sold out, but there are a few left elsewhere and well worth grabbing.

NB: for more nostalgia at the Royal Albert Hall catch Lou Reed the night before at 7:30pm.

Once again, Music We'd Like To Hear returns for a short series of three concerts featuring rarely heard pieces, by often obscure composers which the curators, Tim Parkinson, Markus Trunk and John Lely, want to share with others. The series begins with a concert entirely dedicated to the work of Richard Emsley, in which Apartment House will perform part of his Still/s cycle. The series continues with a concert based around Tom Johnson's Organ And Silence, also featuring works by Satie, Paul Newland, Laurence Crane, Jurg Frey and Christian Wolff, performed by James Weeks and Tim Parkinson. The series is concluded with a portrait concert of Michael Parsons, also featuring works that have influenced him by Cardew, Webern and Purcell, performed by the Post Quartet. Even if you don't know any of the works involved, it should certainly be an ear-opening experience.

NB: this series comprises of three concerts, 02/07, 09/07 and 16/07.

If you're after something a little light, but with enough style to make it worthwhile, Francois Ozon's Angel might be just the thing. A delightfully campy Edwardian chick flick (not in the Bridget Jones sense -- think more Amelie meets Dangerous Liaisons in a gaudy and unabashed English language arena), Angel is closing the Cine lumiere (the cinema is undergoing a major refurbishment and will re-open in January 2009) with as much lavish style, poise and satire as it closed the Berlin Film Festival last year. The film is spilling all over itself with decadence, gilding (along with every detail on the set) the significant bits of dialogue with a throng of swollen strings to eke every last ounce of melodrama out of the story. Although the girl-who-comes-of-age and rags-to-riches themes are hardly novel entries to the cinematic genre, this film brings a tongue-in-cheek twinge to the tale of a young girl and aspiring romance novelist who meets an artist and decides to change the world. Peppered with a collection of industry nods and overstuffed indulgences, Angel throws out an unconventional tangle of themes. It's a self-satirizing melodrama, a tragic matinee tissue-tugger and comedy-on-the-sly.

NB: catch director Francois Ozon, along with stars Romola Garai and Lucy Russell in a Q&A after the film, along with a Romantic Kitsch closing party that follows.

When some Abstract Expressionists (Robert Motherwell, William Baziotes, Mark Rothko) decided to set up a school, they called it "Subject Of The Artist"; this was meant to imply that despite the prevalence of a seemingly primal abstraction, subject matter was key to the work. Today the thrust of art-making is much more diverse, hence subjects for art-making are as diverse as the artists that inhabit the world. One subject though, like the self-portrait or still life, seems a perennial source of inspiration -- the studio. For most it is the ideal microcosm for our greater world; Georges Braque's late paintings were a great example of this. Likewise at Mummery + Schnelle, Herve Ingrand's studio provides an autobiographical armature for his paintings, drawings and installations. Here he seems to have recreated his blue-walled studio through "Neo-Expressionistic" paintings and floor rubbing, and there are even transfers taken from his walls. Unlike the visual intensity of Braque's world, the atmosphere of Ingrand's surrounds seem charged with a psychological energy.

NB: runs till 05/07.

A dark room, almost black with a lingering tinge of blue just like the night sky, engulfs you and your eyes dart around for some detail to grasp on to. Only a large flat screen radiates at the back of the room, glowing softly with an image of this very same flat shade of midnight. The immersive darkness lets your ears take over as you listen to a reading of Baruch de Spinoza's Ethics. If you understand Latin, perhaps the text lends a particular meaning to the piece, but if you don't, the rhythm of the reading and the rich baritone of the voice are sufficient to keep you enthralled. Vertical Monad is an environment that takes over the gallery space and the people in it. This comes as no surprise to those who are familiar with the works of Elaine Sturtevant, better known simply as Sturtevant. After all, she has built a career spanning four decades, exploring modes of appropriation of the work of Warhol, Duchamp, Rauschenberg, Beuys in the form of various copies, without ever limiting herself to such straightforward rhetorical devices.

NB: runs till 05/07. If you want to learn more about her enigmatic work, the artist will perform at Tate Modern on 01/11 and she will give a talk following a screening on the 02/11.

The last Book Slam event we at KF trundled down to featured hilarious readings by Irish novelist Julian Gough (with on-stage costume changes), South African hip-hop artist Zubz (there with a sartorially kaleidoscopic entourage), outspoken poet Salena Godden, and some weirdly brilliant electrofolk from James Yuill. Suitably impressed by the frankly impetuous mix of rap, reading, angry poetry and experimental music, we're quivering with zeitgeisty glee at the prospect of a summer party, being held at 93ft East. On the agenda are gospel-jazz-folksy-bluesy-rock from Alabama 3, the wit and, err, wisdom of Adam Buxton (him off The Adam And Joe Show), performance art from Sophie Wooley, Roual Galloway on the decks, plus barbequed bangers. Oh and Irvine Welsh, the event's star attraction. After his adventures in Filth, Porno, Glue, Ecstasy and, lest we forget, Trainspotting, Mr Welsh ventures forth into Crime, his latest novel about an emotionally disenfranchised copper who is drawn into a paedophile ring, from which he must protect an innocent child thrust into his control after a wild night spent with her prostitute mother. Book Slam's fusion of events might seen strange on paper, but by bypassing the pretentious it shakes up an evening to good effect. Book up now and get thee east.

Why wait for the public to come to you when you can foist art upon them? Lisson Gallery's ever more intriguing group shows continue that strand of politicized, interventionist art best represented by gallery artist, Santiago Sierra. Sharon Hayes has already screened her one-person protests (in fact some of you Flashers may have been unwitting participants), while Sierra's black fly posters currently adorn streets around the Whitechapel. Read his "negative minimalism" as a kind of anti-commercialist, street protest (runs till 04/07; collect posters from gallery to participate in fly-postering.) Inspired by a quote from Lawrence Weiner, Perplexed In Public is hoping to do just that, perplex the public; that is create a "what the" moment to unsettle the casual passer-by. Although this series of "interventions" pick up the spirit of protests art and Happenings of the '60s, with artists like Lara Favaretto (she of inviting the Queen to Frieze fame) and Allora & Calzadilla, expect this to be as entertaining as it is politicized.

NB: Paris collective, Claire Fontaine, will present a new neon at the Lisson (27/06 to 20/07), Allora & Calzadilla will be at Trafalgar Square (08 to 11/07 from 2 - 2:30pm) and Lara Favaretto at Chelsea College Of Art And Design (11 to 13/07; artist talk on 11/07 from 7 - 8pm). Perplexed In Public takes place over June and July in various locations across London.

Most architecture exhibitions focus on the product of architecture as opposed to its processes or indeed anything other than the conventional methods of illustrating a given building. (This year's Venice Architecture Biennale promises much in bucking this habit.) Artists encountering architecture tend to borrow methods or forms. But the director of The Hayward, Ralph Rugoff, had an idea and the ten artists whose work is on show prove it is a good one. It is to explore architecture through experience rather than form. The show is by turns physically disturbing (Mike Nelson's aftermath rooms) and delicate (Do Ho Suh's coral net staircase leads back to everyone's childhood), as well as playful, with its boating pond on the roof plus a double-membrane dome you can climb inside and play on as your friends watch bemused from below. All the fun of summer with the real pleasure of contemporary art is here, challenging architects (and everyone else) to think as productively about space as these artists have done.

NB: runs till 25/08. Also of note is the London Festival Of Architecture (runs till 20/07).

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