Institute of Contemporary Arts

Beier and Lund present a trilogy of works that interrogate the social fabric and institutional culture of the ICA.

The quietness and simplicity of Blightman's work serves to frame spaces and to mark the passing of time.

Invited artists Erik Blinderman and Michael Eddy, Jonty Lees, and Alastair MacKinven are presenting a two-day project centred on the contemporary relationship between performance and photography.

Brown Mountain College of Performing Arts' activities emphasise interdisciplinarity and collaboration.

Büttner works in a variety of media, sometimes using old-fashioned items such as woodcuts and pressed flowers, and is especially interested in the area where art and religion overlap.

Campbell's work demonstrates an investigation into the voice's connection to the body.

Canell and Watkins have made a new gallery-specific installation, bringing together a number of recent works to form a sculptural whole.

Coleman and Hogarth work collaboratively, placing emphasis on the participatory and performative aspects of art practice.

Connolly is an artist filmmaker whose work adopts the investigatory and archival conventions of documentary.

Multimedia installations pinpoint collisions between the world of TV and cinema and that of 'real' human behaviour.

Darbyshire gives the ICA's public spaces the coloured lighting schemes of other public, retail and corporate spaces from across London.

Edwards investigates the sculptural potential of the everyday, often using remnants of previous activities as his starting point - including found or borrowed objects, bits of other works and studio knickknacks.

Entwistle's work employs documentary and abstract modes of filmmaking, often investigating histories of social displacement.

Freee's polemical slogans and attitudes find their expression in a variety of media and space.

Fusco is a writer, as well as the editor of The Happy Hypocrite journal.

Ghazi invokes the shifting territory of selfhood, and the borderline areas of public imagery that are at once superficial and politicised.

Guestroon create communities by inviting other artists and cultural practitioners to take part in their projects.

Harahan's work uses video footage of the urban environment, its incidental detail and fugitive nature.

Nendie Pinto-Duschinsky and Nina Manandhar have collaborated on a series of varied and hybrid collaborative activities since 2002.

Collaboration, playfulness and the structure of film are at the core of Hart and Drew's series of new works.

Heim addresses intrusions into urban life where animals, processes and chance routines create self-sustaining pockets of otherness.

Hetherington's paintings are satirical portraits of 'cultural workers' and play on artistic conventions and on notions of political correctness.

Holder is an artist, designer and editor whose work investigates the gap between language and object.

Writer and curator Hunt organises a special weekend event comprising of a series of actions, working with artists Blinderman, Eddy, Lees and MacKinven, to create a multi-layered project.

The brainchild of artists Chris Bird, Ian Evans and Alec Steadman, The Hut Project takes a wry look at the art world through events which employ surprising conceptual strategies.

A venue without a space, operating through instructions and invitations disseminated by post and email.

A new film work by Jones looks at the history of Marxism to the ghostly strains of the Internationale.

The home of a range of performers whose work moves between the worlds of art and music.

Kirschner and Panos' Trail of the Spider addresses themes of class conflict and displacement through the transposition of the Western genre onto contemporary London.

Kratz works across different media, playing with the iconography of art in an often visceral manner.

Macintyre's practice combines photography and sculpture, drawing both on simple and formal processes and on the heady language of nineteenth-century Symbolism.

MacKinven's humour satirises the value systems of the art world, whilst wryly deflecting to a more corporeal practice of involuntary evaluation.

Mayer's films consider the representation of women through the twin poles of classical Hollywood glamour and the Modernist avant-garde.

Osbaldeston’s work is concerned with the production, positioning and reception of art.

Pierce – who since 2003 has operated under the heading The Metropolitan Complex – works in a number of discursive formats, often incorporating the personal and the incidental.

Clunie Reid uses cheap material and gaffer tape to create aggressive and rampant photo-collages.

Richards works with an archive of video footage that he scavenges and remixes.

Rickards' work shifts between different modes of perception and representation - including the linguistic, the visual, the natural and the artificial.

Rivers’ films focus on lives led at one remove from society, commenting on the desire to achieve liberty through the simplification of lifestyle.

Round’s installations fuse modernist sculpture and design – and the trappings of bourgeois living – with the hedonism of music sub-cultures.

Sutcliffe’s video work combines romanticism with the hard-edge of media manipulation.

Vonna-Michell's performances and installations function as chapters within a non-linear story, combining personal myth with historical traces.

Working in a variety of media, including video, installation and performance, Andy Wake seeks to disrupt the observer's 'neutral' relationship to an artwork.