Before the owners of The End retire to warmer climes and spend their days counting the millions earned from selling off one of London's dearest nightclubs, a selection of fine evenings are to be enjoyed. None more so than the Bugged Out! hosted launch of Tiga's new single "Mind Dimension". For those who do not spend their every waking hour scouring MP3 blogs, "Mind Dimension" has been the subject of much hype, due to the involvement of Soulwax in its inception, and is the sort of track that flatters to deceive on tinny laptop speakers and develops a life of its own when encountered on a worthy soundsystem. Tiga has remained a staunch favourite amongst the electro loving hoi polloi, partly due to his label Turbo Recordings regularly dropping heat, and can be seen as one of the few artists whose career was not irreparably tarnished by the thankfully short lived Electroclash phenomenom. Complementing Tiga is Matt Walsh, everybody's favourite Patrick Swayze lookalike from Chelmsford, whose forthcoming releases on Turbo have been the subject of baited breath for several months, and NikNikNik who we are not sure is even old enough to get into clubs, let alone play records in them.

NB: also of note, but on Saturday, is the line-up at Fabric with among others M.A.N.D.Y., Tobias (live), Jamie Jones (live), Metro Area.

Dayanita Singh has always been regarded for her lavish black and white studies of the middle classes indulging in the riches of the subcontinent. Taken with exquisite attention to detail, they managed to capture India with a reverence unmatched by her contemporaries. For her new show, Dream Villa at Frith Street Gallery, Singh has produced something of a revelation with a body of photographs that are all in colour, radiating intensity and demonstrating an ability to see the country anew. Dream Villa is empty of the pedestrians that have always located her photographs to a particular culture and climate. This new universality opens the works up to greater influences and ideas, prompting comparison with artists such as the American Gregory Crewdson. These latest photographs take on a splendid sophistication that introduces qualities of aura and atmosphere, all of which have the audience dreaming themselves into the works and into the centre of these episodes of silence.

NB: on 05/12 (6 -8pm) catch Dayanita Singh and Geoff Dyer in conversation. Dream Villa is on view at Frith Street Gallery till 20/12. Singh is also included in the Serpentine's upcoming Indian Highway show (10/12 till 22/02/09).

Who hasn't wandered through the Duveen Galleries for a breather between shows or, more recently, to watch members of the public drift aimlessly into the paths of Martin Creed's runners? This liminal Tate space is about to be transformed into a temporary performance, art and music venue, which will take its cue from, but in all liklihood bear little similarity to, an airport terminal. Playing hostess trolley with the ritual formulae of Friday nights, travel and even perhaps the gallery experience itself, event organisers Beaconsfield promise such treats as a drumming cultural theorist (Nicholas Bourriaud), a terminal disco DJ'd by former Soft Cell-er Dave Ball, Bob and Roberta Smith's Apathy Band, monkey cleaners (aka Hayley Newman and David Crawforth) and Tate Collection inspired "do's" courtesy of Liz Murray's HAIRPORT team of beauticians. Event sponsor WITH -- the art collective and "transformative solutions" company -- is hosting a VIP lounge at the north end, but as for their door policy... it's anyone's guess.

From the flick of the writer's pen to the painter's mark on the canvas, the conjuring of worlds is an integral part of the creative endeavour. The act of communicating through representation is itself a sort of world making. Ever since the now historic days of the Space Race, the expanses beyond our earthly frontiers have provided a rich resource of exploration and possibility. The genre of science fiction developed from the experience of space travel. In turn, space travel itself provided a new and enduring artistic language concerned with temporality. Through the parallel developments in technology we have learned to manipulate this resource, stretching it, rewinding, editing and subverting it. Space travel and its sinews irrevocably altered the notion of what artists could dare to imagine: the V&A here presents two perspectives on the impact of space travel on the creative mind. The prolific author and astronomer, Alastair Reynolds, has used his body of scientific knowledge as the basis for his novels, creating rich fantastic settings for his adventures. Joining him in conversation is Jean-Pierre Haignere, who, as a member of the French Air Force, conducted two missions to the Mir space station in 1993 and 1999. He founded and is now actively involved in the development of space tourism.

East Village has been racking up some impressive guest appearances of late, snapping at the heels of some of the capital's larger clubs by putting on high profile names in a slightly more intimate setting. This Friday is the Shrunken Head 3rd birthday and, headlining the house basement, they've got Mike Huckaby; Detroit native and DJ of considerable talent. Huckaby's enjoyed less success that some of his Michigan counterparts, but the penny has dropped in the last few years, bringing some much deserved recognition. He is possessed of excellent taste, whether slow and soulful house, deep and dubby techno or harder, upbeat tackle; and he's also a more-than-capable producer with similar versatility. There's full DJ support downstairs in the shape of Stuart Patterson, Roual Galloway, Tommy Bourne and Peter Goodwin but, also of note upstairs, they've got Mark E playing, purveyor of the deepest disco beats, including many of his own productions and re-edits. Sean Brosnan, David James will join him at the decks.

NB: also of note, but on Saturday, is the line-up at Fabric with among others M.A.N.D.Y., Tobias (live), Jamie Jones (live), Metro Area.

It's rare that a line-up comes along that has seasoned, jaded clubbers salivating at the prospect months in advance, but this inspired bit of booking from the Bleep43 crew certainly has. Surgeon is arguably the UK's premier techno exponent. Since the mid-'90s, his work has singled him out as a figure of exceptional vision and originality. His sound draws upon broad influences from in and outside the electronic music sphere, particularly industrial music, melded into an exhilarating whole. Berlin's DJ Pete used to DJ with Surgeon back in Tresor's heyday, and it's in this spirit that the reunion was conceived. Pete's own credentials are immaculate -- as one half of Basic Channel-affiliated production outfit, Scion, and under his own Substance guise, his place in techno history is secure, and his DJ sets channel a mood and intensity that is seldom witnessed these days. The two will play back to back all night in Room One, pausing for an intermission from another crucial figure (and Surgeon collaborator) -- Scorn aka Mick Harris, whose uncompromising live sets attract superlative praise. Furthermore, Plant43 and the Bleep43 resident DJs will be laying down a no less impressive range of electronics in Room Two.

NB: also of note, but on Saturday, is the line-up at Fabric with among others M.A.N.D.Y., Tobias (live), Jamie Jones (live), Metro Area.

Hurricane Katrina will undoubtedly become a popular backdrop for Hollywood re-tellings of timeless human stories. It has everything: disenfranchised poor, natural disaster, incompetent leadership and journalistic neglect, with tragically large amounts of death, sorrow and misery all paving the way for some all-American heroism. You can almost see the Oscars stacking up... Trouble The Water, currently Academy Award shortlisted, deals with all these issues. Documentary stalwarts Tia Lessin and Carl Deal's film follows the story of the Roberts family, led by enterprising rapper Kimberly. Combining footage filmed by Kimberly before and during Katrina with a film-crew return to New Orleans and beyond, the piece highlights how the trials of the dispossessed began rather than ended with the passing of the storm. It is, inevitably, only one side of the story, but Kimberly and her family's inspiring resilience, hope and faith in the face of astonishing adversity is profound and truly moving, as is the indignation that you feel toward those who were meant to help but failed. Trouble The Water is the "Katrina" film Hollywood wishes it had made already -- see it before they try.

NB: Trouble The Water screens at the ICA from 05/12 till 23/12 and 27/12 till 30/12. Also of note this week is the release of Patti Smith: Dream Of Life (05/12).

The only thing we can definitively say aboutYou Me Bum Bum Train is that the 20 minute journey is a completely strange, exhilarating, extraordinary, high octane, and utterly unexpected one. Its mystery is part of the experience, so to say much more would ruin the surprise. Still, what we can say is that it takes place in an East End warehouse, and is an interactive theatrical experience whose nearest relative would be the bastard child of a Punchdrunk performance and a ghost train, minus the ghouls and demons -- although there are a few nightmare sequences along the way, which if you dreamt them might make you wake up in a cold sweat, but which here are gloriously imaginative. You'll make the journey alone, partly carried, partly on foot, partly crawling, partly on wheels. You are alternately praised, shouted at, examined, interrogated, put to the test, celebrated, and rejected. If it sounds completely insane, it is. Inordinately. But you'll smile a lot, do a shot of rum and you'll leave with a bespoke gum-shield. Just go. You won't regret it.

NB: performances on 06/12, 13/12 and 20/12.

Presented here are two video installations, exploring Charles Atlas' childhood memories of a tornado warning in St Louis, Missouri. A filmmaker, video artist, and pioneer of "media-dance", Atlas has long explored the relations between dance, performance and documentary, situating himself in an Anglo-American-based context centering on the work of Merce Cunningham, with whom he has extensively collaborated with. This interest is most evident in Institute For Turbulence Research, which uses multiple projections of video images set at oblique angles to supposedly conjure the threat of an imminent tornado. These images are anything but sinister -- objects rotate in an empty room, oversized spirals conjuring Duchampian rotoreliefs whir ceaselessly, and random found footage floats to an electronic soundtrack, in what seems primarily to be a technical experiment. The first piece however, Plato's Alley, conjures a more serious atmosphere. A single-channel projection on a back wall starts with a sequence of quivering grids, that soon explode into a mass of numbers from 1-6, which begin to spin out of control as though caught in the force of a quickening tornado. By restricting himself to the use of monochrome blocks, grids and digits, Atlas demonstrates a sensitivity to the meeting point between high-modernist practices, the moving-image and new media.

NB: runs till 07/12.

Screening as part of the Iran: New Voices season at the Barbican, is a double bill of film essays by Iran's greatest living filmmaker Abbas Kiarostami. An original member of the Iranian New Wave of filmmakers in the late '60s, and well known here for the beautiful images, poetic dialogue and lyrical documentary style of his feature films (Through The Olive Trees, Taste Of Cherry, The Wind Will Carry Us) in Iran Kiarostami also has considerable fame for his photography, poetry and painting -- a kind of Persian renaissance man. For this double bill, the UK premiere of the half-hour Roads Of Kiarostami is paired with his meditative 2005 feature Five (dedicated to Ozu). Roads Of Kiarostami features Kiarostami's gorgeous, monochrome photographs -- landscapes, snowscapes and the eponymous roads -- overlaid with a voiceover of classical Persian poetry, focusing on the theme of paths and journeys, linking the mind of the poet with the lure of the open road. Continuing Kiarostami's roadmovie theme, Five employs a style similar to artist-filmmaker James Benning of very long static shots with ambient sound, which allows the viewer to construct a personal narrative around the images. Thought-provoking, poetic and meditative cinema.

NB: Geoff Andrew, film critic and Kiarostami expert, will introduce the films. Iran: New Voices runs till 07/12.

This programme offers an intriguing passage from classicism to cutting-edge contemporary. Mozart's exquisite Violin Concerto No 2 is a perfectly formed and balanced composition, which will undoubtedly show off soloist Gil Shaham's acclaimed virtuosity. The charismatic Israeli-born violinist has played with the world's leading orchestras since his debut at the tender age of 10, and is an exciting interpreter of the repertoire. Shaham will also play Stravinsky's Violin Concerto (also set in the key of d major) -- a logical follow-on from the Mozart, whose classicism it manipulates. Stravinsky had been initially reluctant to embark on the commission, claiming he had never been interested in the genre of the violin concerto. The result however is an undisputed masterpiece, revealing the composer's remarkable ability to set a decorative motif into ceaseless motion. Delicate yet robust, playful yet relentless, like all of Stravinsky's best works, the piece was also set to ballet by Balanchine. Messiaen's 10 minute composition, Un sourire ("A Smile"), written for the 200th anniversary of Mozart's death in 1991 (evidently Messiaen felt that Mozart would have approached death smiling) will leave you exhilarated. The evening starts with the premiere of British-born "post-minimliast" Sam Hayden's (b 1968) Substratum written especially for the BBC Symphony Orchestra.

NB: also of note this week is the Messiaen Centenary Concert at the Royal Festival Hall on 10/12 (7:30pm).

The cynic could be forgiven for saying that closing down parties are two-a-penny at the moment, and no doubt some of the teary eyed farewells will turn out to be a mere re-branding exercise. But few would doubt that the departure of T Bar will leave a hole in the clubbing diary -- not least because it was one of the few genuinely free destinations that didn't require a "top secret location" or being chummy with the promoter. So to the highlight among a week's sprawl of goodbye events: Kompakt and Crosstown Rebels head honchos Michael Mayer and Damian Lazarus locking horns. The former has made himself part of the fabric of minimal while the latter is one of a handful who managed to well and truly extract themselves from the legion of fallen electroclashers and start again. Mayer's beautifully hooked bleeps should be a suitable foil for Lazarus' trippy deep house and have the numerous adherents of both schools staging a love-in, fizzing with the emotion of a last time ever Stink shindig on 08/12 (8pm - 3am). And since this isn't actually the final, final party at T, special mention should also go to Anja Schneider who brings the sounds of her Mobilee label in on 10/12 (9pm - 3am) and the true closing party with Dig Your Own Rave (with among others Jamie Jones, Rob Mello and Hector) on 14/12 (12pm - 12am).

NB: The 12 Days Of T Bar runs till 14/12.

Back in 1913 Luigi Russolo imagined a future dominated by noise, sculpting music out of the mechanical world around us. Since then, our musical evolution in the last century has often drawn upon the sonic interferences of the industrial environment and the natural, with composers such as John Cage and Edgar Varese harnessing these intrusive noises into a more musical shape. Channelling these spirits in a new combination, American composer Annie Gosfield draws upon the spirits of maverik hobo composer Harry Partch and the eccentricity of Sun Ra to produce a startlingly rhythmic and driving music that embraces a microtonal harmonic structure. Slippery guitar lines, pulsing factory drums and rapidly weaving piano lines offer a sound world that is likely to combust at any moment. Raucous, beautiful, chaotic and unforgettable, Gosfield resurrects the past in our future. Support comes from the playful sounds of Halal Kebab Hut and rare screenings of Robert Breer's 1968 tribute to Jean Tinguely and Gordon Matta-Clark's Fresh Kill, anticipating Tarrantino's Death Proof by over 30 years in a battle to the death of a truck versus two bulldozers. When will the machines take over?

NB: this event is part of Kings Place's ongoing This Is Tuesday series of concerts.

Halfway through the Curating Architecture exhibition at the funky east London gallery space The Showroom, Rem Koolhaas and his OMA partner/AMO director Reiner de Graaf note that the population of Europe is shrinking: "The urban substance of Europe in decline intersects China in ascension. The rice field next to the skyscraper in China's Pearl River Delta finds its counterpart in the derelict industrial estate surrounded by urban fabric in the German Ruhr Valley: in both cases the metropolis has become a field condition of dispersed moments of concentration." If such statements make you tick, this is a perfect show for a lazy Sunday afternoon, with a lot of interesting facts and stats, and very little in terms of surprises. It's a bit like a blown-up wall version of the kind of books that Koolhaas and AMO have investigated since Content. We get a timeline; another reminder that the signs for Yen, Euro, and Dollars spell the word "yes"; and an OMA project, niftily presented in a book that can be read in two ways. More interesting is Walid Raad's Scratching On Things I Could Disavow in the easy-to-miss inner space, a completely contrasting white-on-white installation that clashes beautifully with the Dutch information overload a few meters away. Angela Ferreira and duo Nikolaus Hirsch + Philipp Misselwitz are yet to come in this accumulative exhibition.

NB: runs till 14/12. On 10/12 (6:30pm) catch Nikolaus Hirsch, Philipp Misselwitz, Andrea Phillips and Lisa Le Feuvre when the discuss the show.

Nowadays revolving around the core nucleus of original members singer Stuart Staples, pianist Dave Boulter and guitarist Neil Fraser, a revivified Tindersticks look set for a lengthy new lease of life, despite the major 2006 personnel changes that briefly threatened to kill off the band. Internal ructions notwithstanding, Nottingham's venerable, eminences grise of indiedom continue to command a loyal international cult audience (they're proper, chart-gracing pop stars in Greece) and even have the, perhaps dubious, distinction of being one of Charles Saatchi's favourite bands. A wintry, candle-lit Union Chapel is perhaps the perfect venue to experience the hushed tones and refined, semi-orchestral indie noir of Staples and co. as they essay tracks from their now capacious, seven album back catalogue. Last year's The Hungry Saw LP will also be heavily mined, which is no bad thing as it marked a serious return to form for the band, refreshed by a new, young rhythm section and renewed sense of purpose. Expect lavish strings, Lee Hazlewood-esque wit, distinguished greying temples and music that's the aural equivalent of warmly twinkling Christmas lights.

This unmissable show presents two recent works and several older pieces from the celebrated American artist whose practice has forged a singular path through the elusive phenomena of dreams, mysticism and the occult. Hiller's recent series of photographic works scrutinizes the occult legacies of modernist art, considered in light of their ongoing presence in popular culture. Aura: Homage To Marcel Duchamp, takes Duchamp's 1910 Portrait Of Dr R Dumouchel as the starting point for a series of portraits which use a special photography technique to create phantasmagoric auras around their subjects. In bringing attention to the "mystical" aspect within a work by a modern icon, Hiller offers an ironic play on Walter Benjamin's prediction of the modern artwork's loss of aura. Also showing is her celebrated 1987 work Magic Lantern, in which a slow-moving projection of coloured discs and a soundtrack of a scientist commenting on the phenomenon of the voices of the dead, along with the voices of deceased famous figures such as James Joyce, offers a skilful play on the boundary between the scientific and the irrational, illusion and reality. Our favourite is From Here To Eternity, 2008: three projected screens of geometric labyrinths within which coloured balls move slowly and hypnotically, the artwork casting its own curious spell.

NB: runs till 20/12.

The gold lame curtain in the gallery window momentarily transforms the stellar roll call of artists adhered to the glass (from Kenneth Anger to Anne Collier by way of Marc Quinn) into a potential cabaret bill. But this group show, loosely sifted through the legend of the Sphinx, is quite but not nearly as high camp as initial appearances suggest. From the lore of ancient Greece to the corporate logo, this seductive and deadly half-human, half-lion remains a powerful cultural symbol -- the bestial, territorial and supernatural associations of which make for an expansive exhibition motif. Curator Alexis Vaillant pulls these thematic strands together to form one elegant, oddly sexy purse containing art and artefacts as contextually far flung as Phillip Newcombe's liquid LSD-dipped lollipop, fixed to the wall at genital height; Sharon Bool's precariously balanced brass and aluminium pole, which appears to be keeping floor and ceiling apart in the back gallery; and an Oscar Wilde novel. Meanwhile, wallpaperworld.com's aerial shot of Las Vegas plays "Where's Wally" with a casino replica of the creature in its most familiar guise at Giza: the original monumental sculpture.

NB: runs till 20/12.

Julian Rosefeldt's lavishly staged, multi-channel film installations create complex visual narratives, which are both clearly decipherable and determinedly ambiguous. The Ship Of Fools at Max Wigram Gallery is a skilfully choreographed work projected onto four screens, which deals overtly with the charged subject of German nationalism but refrains from drawing didactic conclusions. One screen shows a pack of German shepherds barking incessantly in a dark, gothic forest (the film was shot at Castle Sacrow, occupied by the Nazis during their regime). Their cacophony merges with Wagner's song-cycle Wesendonck Lieder, forming a soundtrack to the action unfolding across the other three screens. Three men gaze upon three different landscapes, whose rolling mists and gleaming expanses of water reference the German Romantic painter Casper David Friedrich. A skin-head with a German eagle tattoo emblazoned across his shoulders wades out into a swamp; a back-packer watches as a ship full of people frantically waving German flags passes him by; a figure dressed all in black releases a bird of prey from under his coat. Each mise-en-scene suggests the ultimate emptiness of nationalist dogma, but the anxious barking of the dogs and the lugubrious music entail that an intimation of threat remains.

NB: runs 20/12. You can also see Julian Rosefeldt's Trilogy Of Failure at the RA which is of part of the GSK Contemporary (runs till 04/12).

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