Giving London's mid-noughties love affair for minimal techno a fixed base, T Bar played host to pretty much all of the scene's big names during its five-year reign, without ever charging a single penny to pass through the door. Partly due to licensing issues and irritable locals, when December of last year arrived, the time came for the much-loved institution to leave Shoreditch High Street and find a new home. Still running the admirable policy of free admission, the wait is finally over and T Bar re-opens on the old site of what was Duke's Bar in Houndsditch. The unlikely yet shrewdly chosen Square Mile venue was previously used to hosting private fetish parties for suits as opposed to staging dance music's finest. However, the team have stripped out the kitsch decor and rigged the den of inequity with state of the art Funktion One speakers. Fans of the old set-up will be pleased to hear that Dig Your Own Rave return to their cherished Sunday night residency, with High Horse, Phonica and Freak n' Chic also staging regular events. Long-time T Bar associate and Kompakt boss Michael Mayer aptly cuts the ribbon around the DJ booth tonight, with Freak n' Chic's Jamie Jones taking you through till 3am.

Based on the intertwined true-life stories of Salvador Dali, Federico Garcia Lorca and Luis Bunuel, Little Ashes takes you back to a pre-civil-war Madrid, specifically to the rebellious and rather self-important bohemian social circles of the Residencia de Estudiantes. This compelling story of friendship, passion and ambition is only enhanced by the knowledge that the colorful characters and fantastic events are the creation of life itself. The film starts with the meeting of the three men as students in 1920s Madrid and follows their undeniably passionate yet controversial relationships throughout their lives. Given the complexity of the lives of these men one would need to have some basic understanding of the social and political situation of Spain and Europe at the time, however, the film gives enough background information not to lose track of the story if 20th century history is not your forte. Also noteworthy is the period detail in the costumes, music and location, as well as the incredible scenery of Cadaques, the seaside town of Dali's youth and the venue for some of the most pivotal events in the tumultuous relationship between Dali and Garcia Lorca. All in all a perfectly enjoyable film with the added bonus of a brief lesson in art and history.

NB: Little Ashes is released in London on 08/05. Other films of note released on the same day are Delta, O'Horten and Star Trek.

Kornel Mundruczo's latest lauded work, Delta, is noticeably different to his previous work, so much so that any nascent fans might be a little confused. The film is unashamedly slow in pace -- nay-sayers could well say dull, but that is to miss the delicate beauty that drifts through the film. A brief outline of the simple plot doesn't give too much away -- a quiet but motivated young man (Felix Lajko) returns to his home village, meets his sister (Orsi Toth) for the first time in the house his mother shares with her new husband, then builds a house on a delta with her help, before entering into an incestuous relationship with her. Little is said, in fact little else happens at all, which adds more weight to the handful of bleakly significant spikes in drama. The real star of the film, however, is the (Romanian) landscape -- every frame of Delta is so beautifully composed and shot, so indulgent in its admiration for nature's bounty that were the human characters cut out completely it would still make for time and money well spent.

NB: post screening Orsi Toth and the film's screenwriter Yvette Biro will be present for Q&A. Afterwards there will be music from Hungarian jazz favourite Lorinc Barabas and guests in the bar til late. Delta screens at the ICA till 31/05. Also of note is the release of Little Ashes, O'Horten and Star Trek.

Vermont-born, Manhattan based composer Nico Muhly is surely destined for global fame. At only 28, his CV makes for impressive reading: Philip Glass, Rufus Wainwright, Will Oldham, Antony and the Johnsons, Bjork and The National are just six of the stellar collaborators who've benefited from Muhly's swooning orchestral arrangements. Brooklyn-based art-rockers Grizzly Bear looked no further than their near neighbour to wed vertiginous strings to the epic convolutions of their recent album meisterwerk, Veckatimest. Sideman duties apart, Muhly's own compositions have been premiered by the likes of the Chicago Symphony and the Juilliard Orchestra and he's already penned an impressive tranche of film scores including The Reader (2008). With two approachably esoteric albums of his own already in the racks (the latest, Mothertongue, also features close collaborators, violist Nadia Sirota, folk singer Sam Amidon and Icelandic producer Valgeir Sigurdsson -- some of whom also appear in tonight's performance -- he's clearly not hanging about, so catch him for a mere tenner, and at London's finest intimate venue while you can. Support comes from the excellent Kammer Klang String Quartet playing selections from Gavin Bryars and Henry Purcell. Get there early for a good pew.

Eclectic curators Sprawl return to this Thames-side venue, overlooking Kew Gardens, for a recycling-themed smorgasbord of jazz, acoustic and experimental delights. Bill Wells ploughs a post-rock, almost Tortoise-esque path with his National Jazz Trio Of Scotland, producing low-key melodic asides with wistful arrangements. Meanwhile, James Blackshaw creates controlled folk-tinged ragas via hypnotic 12-string guitar sketches, beautiful acoustic cascades reminiscent of John Fahey and Leo Kottke. Trombonist Annie Whitehead -- collaborator with Robert Wyatt, Elvis Costello and Jah Wobble -- presents an unusual solo set, following on from Steve Beresford, attacking his notorious tabletop of toys, and circuit-bent gadgets. Before the live sets, Cedrick Eymenier's movie Platform #12 TOKYO debuts, a meditation on the city landscape with a soundtrack by Taylor Deupree, Oren Ambarchi and Akira Rabelais. This is coupled with People Like Us' re-imagining of Kew short, Skew Gardens. As well as stalls, DJs Ben Eshmade (of the Arctic Circle) and Fail HDJ play out-there curiosities, and there is discounted entrance to the nearby Musical Museum (with tea room), projecting works from Aura Satz and CD-to-vinyl recycler Aleks Kolkowski. All this and apparently a belly dancer too, making the afternoon and evening a quirky blend of the recycled, the reduced and the sublime.

Improbable have been brilliantly busy across the spectrum, from grappling with Broadway to initiating dialogues in the theatre community and beyond. It's been a while since the kind of production that established them in the theatrical vanguard, a more intimate performance crafting homespun visual magic with an electric connection to the live moment, exemplified by the wondrous 70 Hill Lane. Like that, Panic breaks a great chunk off performer/director Phelim McDermott's life, a diagnosis of sexual anxiety metamorphosing into a reverie of the ancient god Pan, impulsive nature bundled into modern-day living. There are exquisite elements -- a beautiful alchemy of video projection and brown paper for instance -- balanced against broader comedy; just as McDermott's fearless vulnerability is suspended by a chorus of Angela Clerkin, Matilda Leyser and Lucy Foster, whose performances are way beyond mere nymphs. If the threading of the diverse strands sags a little in the middle, there is an accumulation of resonant connections by the end to reward your engagement, bandying fantastical stories and true lies. Ultimately it weaves an elegaic magic as effortlessly as it conjures a forest through an owl-hoot, a snapping of twigs, and the rustle of the leaves of a self-help book.

NB: runs till 16/05.

In the 1920s Le Corbusier discovered the DNA of buildings. He hacked off all the Victorian twiddly nonsense to uncover the fundamental structure of what humans need to live in. He then spent the rest of his life dressing it up in his own image: impossible, surreal, hopelessly optimistic and fundamentally misguided but brilliant all the same. He was prolific and constantly trying out new things. Like a true visionary (or psychopath) he asked stupid questions, like why can't an apartment block be a mile high, and why not cut a 5-mile swathe across central Paris? His glass and steel furniture spawned a zillion IKEA mongrels. His kinetic poetry, resurrected here, might have been happier left back at the 1958 World's Fair. Like Neimeyer in Brazilia, he built a whole city out of cheap concrete with huge, slightly spooky, totems to healthy living (Chandigarh, India). There's a life's worth of Corbist byproduct here: wooden models, beguiling artworks in their own right; expressionist murals; modernist mags; plus his collection random stuff like pinecones and cornpipes. Despite the self-defeating lighting (every time you go in for a close up all you see is your own black shadow) it's well worth the effort.

NB: runs till 24/05.

Buddhism and Buddhist thought seem a natural fit for books and learned discussion -- far removed from the bright lights and earthly delights of mass entertainment. It's surprising, though, how well Buddhist philosophy -- both innate and implied -- has meshed with the cinema. This festival brings together a large collection of films that contain elements of Buddhism in all its forms -- events including Japanese puppet animation master Kihachiro Kawamoto's Book Of The Dead (09/05) and a discussion with the creators of the magnificent BBC documentary The Lost World Of Tibet (16/05), created with fantastically coloured archive footage taken in a pre-China autonomous Tibet, are mixed with screenings of Donnie Darko (16/05) and two of Jim Jarmusch's films Ghost Dog (08/05) and Dead Man (13/05). A definite highlight is the rare screening of Prem Sanyas (07/05 and 10/05). The 1925 Franz Osten black and white silent story of Buddha was made as part of a group of Weimar-era Expressionist films, and is a very early example of an international co-production. Made with the support of the Maharajah of Jaipur and including the coveted "cast of thousands", it was one of cinema's first epic films. The screenings will have a live accompaniment including tabla and sitar -- a zen opportunity in the chaotic city.

NB: the International Buddhist Film Festival runs from 07/05 till 17/05.

Director JJ Abrams delivers an immense visual experience, packed with thrills, a sexy new crew and a great looking USS Enterprise, effectively rebooting what in our opinion as lifelong fans was a pretty shabby franchise. Eric Bana plays Nero, a disgruntled Romulan from the future bent on revenge, commanding a beautiful and horribly well-armed ship; the production design is sumptuous. Chris Pine makes a fine Kirk and Zachary Quinto is perfect as Spock. The supporting cast also march to the same drum: never descending into caricature or impersonation, they fill the boots, suits and mini-skirts of the original characters better than could have been hoped for. Star Trek lore is largely adhered to; enough to stay the tongues of all but the most punctilious of dogmatists. There's even a character from the animated series -- don't blink -- details like this provide comfort to us where previous films and spin-offs left us cold. The IMAX offers the biggest screen in Britain ideal for all the CGI candy and action sequences and gorgeousness of the new crew. For die hard fans or the uninitiated Star Trek is the first credible blockbuster in years.

NB: Start Trek screens at the BFI IMAX till 04/06. Star Trek is released in London on 08/05. Other films of note released on the same day are Delta, Little Ashes and O'Horten.

The conspiracy thriller has always been a specialty of American cinema , but the psychological thriller, filled with dread and slow-burn suspense tying the viewer up in mental knots, is a particularly French specialty. Hidden, Lemming and Tell No One all put audiences through the mental wringer as the characters -- usually quite ordinary people you could easily identify with -- are kept waiting for all hell to break loose. Safy Nebbou's psychological thriller Mark Of An Angel focuses on maternal instinct for the psychological aspect, and questions of identity for the thriller aspect. Elsa's (Catherine Frot) life is messy: she is going through a divorce and a custody battle over her son, and it is clear she is quite fragile -- vague hints are dropped about her past. Claire's (Sandrine Bonnaire) life is ideal: she is about to emigrate to Montreal with her marvellous husband and two perfect kids. Despite these differences, the women have a key similarity -- they both gave birth to a daughter six years ago. But tragically Elsa lost her newborn during a fire at the hospital... Both actresses are excellent: Elsa's maternal instinct fans her obsession over Claire's daughter Lola, and Claire's maternal instinct provides ferocity to protect her offspring.

NB: post screening Sandrine Bonnaire and Time Out film critic Dave Calhoun will be present for a Q&A. Mark Of An Angel is released in London on 22/05.

Author of Hollywood Babylon, favourite of Jean Cocteau, and lifelong friend of the Church of Satan founder Anton Szandor LaVey: so indistinct are the life, the art, and the sensational claims of this 82 year old man, that it's hard to know which came first -- his troubling commentary, or the morbid reality. Experimental 1972 film Lucifer Rising foreshadows the grisly demise of its big name stars. First up, Donald Cammell, director of cult film Performance; he committed suicide. Next, Marianne Faithful, Mick Jagger's muse; she got into heroine, and that's just the start of it. Lastly Bobby Beausoleil, Love guitarist; he was set to star before he befriended Charles Manson, and later composed the film's score from his prison cell. Wowzer. But black magic aside, Anger's films still sound fantastic. In Scorpio Rising a macho biker pulls on a pair of azure leather pants to the dreamy chorus of Bobby Vinton's "Blue Velvet" (David Lynch anyone?). Rabbit's Moon, an uncharacteristically lovely take on a Pierrot story set in a gloriously low-fi silvery Eden, plays out to '60s pop (including The Capris' "There's A Moon Out Tonight" and The El Dorados' "Tears On My Pillow"). The time is now -- seize this chance to pose some unanswered questions to the (questionable) source of postmodern film.

NB: post screening Kenneth Anger will be joined by Gary Lachman and Iain Forsyth & Jane Pollard for a discussion (this event has been programmed with the BFI's Iain Forsyth & Jane Pollard exhibition which runs till 11/06).

It sounds like a dream job. To travel the world, combining your memoirs and travelogue with a work of fiction. The document rationalizes your travels, while the element of fiction provides a hook that reformulates all your experiences in a deeply meaningful spiritual pursuit, conveniently ironing out the wrinkles of trivial nuisance and inconsequence that accompany real life comings and goings. Better still, for the purpose of your literary exploits you can be yourself and your fictional counterpart, perhaps a better half, at the same time. What makes Geoff Dyer's account of his travels engaging is that he laces himself into the stories in a favourably unlikely way, stating outright his inability to escape his own perspective for the purpose of fictionalising an experience, and blurring the line even more by giving his lead character in his most recent book -- Jeff In Venice, Death In Varanasi -- his own name. Dyer has been heralded as a truly individual voice in literature, and will be speaking about his new book with English novelist Matt Thorne, who has his own unique take on the travel industry for reasons of fact, fiction and otherwise.

May 12th sees a very rare UK date from Portland, Oregon's Grails, who are in the country at the behest of ATP, for whom they'll be playing the weekend before this gig. They're also on the bill for The Jesus Lizard's show the night before this, but this is their only headlining date in the country as part of the current European outing. Grails are an instrumental rock band, but they're an island in a sea of post-rock noodlers (credible as they may be) and, more recently, a somewhat over-populated pool of guitar-focussed "new ambient" acts. Their musicianship is excellent -- a common trait amongst their canon, admittedly, but the thing that they truly excel in is crafting drama and atmosphere. Their early work references Celtic and Eastern music, but this has evolved across their catalogue to embrace greater psychedelic, dubby influences and more experimental studio techniques. The dark and intimate room at Corsica Studios should be a great canvas for them to build the mood.

The disappearance of Zongamin aka Susumu Mukai (save for the odd DJ set, including one last week at Plastic People) is perplexing given how exciting Mukai and co's punk funk was back in the first half of the noughties. While Mukai's design fetishism goes on, though, at least one of his former bandmates Leo Taylor finds himself in new trio The Invisible with vocalist Dave Okumu and Tom Herbert, who between them add Matthew Herbert and Polar Bear to the collective CV. Not too far short of a muso's wet dream, really. The result is moody, spaced out pop that although more likely to massage than stun has plenty of the sonic breadth you'd expect given its members. Moreover, embracing the psyched out, proggy direction the wind seems to have been blowing of late, are some other former Zongamin members, Thee Uninvited, sounding as dark as Emperor Machine, Padded Cell and their DC Recordings ilk but swapping the machine love for guitars.

Two Fingers is a new project featuring Ninja Tune electronic maestro Amon Tobin, innovative drum and bass producer Joe "Doubleclick" Chapman, and a parade of vocalists, including MOBO winner turned international success Sway DaSafo. After decamping to Montreal, they produced a intricate and original eponymous debut album, which blends dancehall, hip-hop, dubstep-weight bass, Tobin's peculiarly beautiful updating and processing of the clatters and reverb-heavy percussive sounds of the musique concrete tradition, and vocals which flit between underground rap, whispered threats, ferocious toasting and indie-boy choruses. Critical response to the album has been very warm, and the blending of each contributor's unique style in one piece of work makes for some varied, uneasy, but never jarringly dissonant listening. Tobin will also play a DJ set to warm things up and get people moving, providing that they haven't picked up any dancing-related injuries after hearing the basslines. Finally, the Scala's dingy grandeur should suit the gig perfectly.

We have all been jarred by eerily accurate ad banners in our email, offering relationship counselling or dating services when we receive a snide note from a partner, or a high-salaried job posting conveniently located in the very same exotic location we are visiting that tempts us to consider a move, even briefly. It's strange then, how we nervously laugh off warnings from sci-fi writers or scenes from films set in the near future where billboards not only address us by name, but know whether we can afford to shop, what we like to buy when we can, and precisely how to get our attention. This may not be as far in the future as we think it is. And it's not a long shot to assume that Google is going to be in on the ground floor. But what about now? Could the billions spent each year worldwide be directed at honing in on target demographics with pinpoint accuracy? The implications of a system like this -- an informed, precision directed advertising platform -- are staggering. Numerati author and technology analyst Stephen Baker will discuss these implications in the context of the Google cortext with author James Harkin.

This is Thomas Nozkowski's second solo exhibition in London. In 2004, his exhibition coincided with Raoul De Keyser at The Whitechapel, this time he has arrived here while Robert Mangold is showing at Parasol unit. These artists provide contrasting approaches to the mix of precision and tentative exploration which Nozkowski has a special genius for capturing in paint. New York critic Peter Schjeldahl once described Noskowski's work as like a rock in a stream, immovable whilst also being part of the flow. The six paintings and five works on paper here are at once very current and full of a timeless clarity. Unusually for him, Nozkowski has made a four-part work on paper that allows an image to unfold in sequence. This piece bears some resemblance to a Jonathan Lasker painting, but seems to grow intuitively out of itself, as opposed to Lasker's more strategic enlarging of small-scale doodles. Any sense that Nozkowski is moving towards working in series or by systematic development of a theme is undermined by the complex and contradictory suggestions of imagery in other parts of the exhibition. Nozkowski is busy telling his own non-representational tales, perhaps drawn from a deliberately miss-remembered textbook on abstraction.

NB: runs till 23/05.

Wilkinson Gallery's airy, light industrial space, in the creative hub that is Vyner Street, provides the perfect backdrop to Tillman Kaiser's innovative solo show. Hallucination Engine is a fitting title for the Austrian artist's London debut, as it combines elements of constructivism with a psychedelic otherworldliness and a contemporary urbanism, which bring it bang up to date. Architectural canvases are successfully translated into 3D sculptures, which give depth to the installation and tell a story with a hint of the supernatural. Kaiser is equally at home when skilfully applying tempera to canvas in geometrical patterns reminiscent of Rodchenko, and over layers of silkscreen that introduce fragments of black faces and piercing eyes, which bring the images into the present day via Warhol to Ofili. Miss Weaving Tree is an abstract family tree, suggesting the lineage of the artist, its flowers are the corn rows decorating a female's crown; Happy Survivor is an imposing, angular black sculpture, evoking Darth Vader's mask, containing two glass spheres that invert the gallery in the manner of a crystal ball. The story unfolds further upstairs with Overland Flyer, a sculpture that contains an intriguing slide of a man buying a plane ticket to an undisclosed destination...

NB: runs till 24/05.

If you thought Cindy Sherman was done role-playing, think again. Following her recent Clowns series, in which she embodied numerous creepy versions of the circus staple, the artist has now taken to exploring the grotesque in real life -- namely, aging socialites whose miserable efforts at maintaining youth have left them more maimed than marvellous. A selection of this most recent series, which was premiered in New York in autumn before moving on to Berlin, has now made its way to London. Larger than life (most of the images are around 2 x 1.5 metres), these Golden Girls are at once disconcertingly misshapen and yet at the same time rather humorously touching. The fun in Sherman's work inevitably derives from concocting a narrative around her characters, looking at their various poses, costumes and other subtle social markers to figure them out. Here we have what look like two Midwest heiresses (the artist playing each) in "jolly" summer dresses, a commanding spiritualist in blue caftan and a terrifying Liza Minelli- esque grand dame.

NB: runs till 27/05.

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