London-based organisation Artprojx have been a by-word for the promotion and exhibition of contemporary moving image art practice since their inception in 2003, not only representing a knowing art world but opening up artists' film and video to the widest cinema-going audience possible, with screenings and exhibitions with venues as diverse as White Cube, Matt's Gallery, Prince Charles Cinema, Zoo Art Fair and Goldsmiths University, as well as internationally.

Also in operation since 2003, tank.tv has established itself as the only curated online museum of artists' moving image, placing the work of internationally renowned artists alongside younger, emerging filmmakers.  In their latest series of screenings, tank.tv will present seven films at Artprojx Cinema NY, a new pop-up artist's cinema launching in association with The Armory Show and Volta NY at the SVA Theatre, New York.

Alongside screening with the cream of international moving image artists and organisations, tank.tv will screen works by Mounir Fatmi, Ruth Paxton, Jeremy Deller + Chrissie Iles, Maria Marshall and the feature-length Double Take by Johan Grimonprez.

Over the next few days, Because London will profile the work of each of these artists as well as bringing you the latest in artists' moving image concepts: The Cinema as Gallery.

Artprojx Cinema NY runs from 01 - 06 March, 2011, at SVA Theatre, New York.  Tickets are free, but booking is essential.  RSVP at artprojxcinema@gmail.com

Start as you mean to go on.  It's a great sentiment that in certain instances can turn either foolishly brave or bravely foolish.  Rightly so, the BFI will generally show toward the early part of the year a retrospective of a major historical filmmaker.  I didn't think they'd be able to top last year when over two months they showed practically every film available by the Japanese director Yasujiro Ozu.  This year, we reconsider the early career of one of the defining European post-war filmmakers: Francois Truffaut.

As an annoyingly talented twenty-two year old writer, Truffaut published in the influential French film magazine, Cahiers du Cinema, an article attacking the French film system, and later devised the concept of auteur theory, an immediate foreshadowing of the Nouvelle Vague - or the French New Wave.  With filmmaking colleagues including Jean-Luc Godard, Eric Rohmer and Agnes Varda, and leading stars including Jean-Pierre Leaud, Anna Karina and Jean-Paul Belmondo, the Nouvelle Vague was young, hip, serious about films and made seriously good films.

Truffaut's first act was to write the script for Jean-Luc Godard's debut feature, A Bout de Souffle, before beginning a directorial career with the magisterial Le Quatre Cent Coups, the first in a series of films starring Leaud as the director's manifestation on screen.

Included in this season are the Oscar-winning La nuit americaine and Truffaut's adaptation of the Ray Bradbury novel, Fahrenheit 451.  Best of all?  There's more to come.  Good old reliable BFI.  Francois Truffaut part two is soon on its way...

The Francois Truffaut season is on at BFI Southbank between 18 February - 28 March, 2011.

Ian Breakwell was an artist who catalogued the seemingly quotidian details of his everyday. As a diarist he worked outward from these recollections towards an art that expressed its self over the widest range of media, spinning this attempt to rediscover common experience with a surreal and caustic humour. Breakwell's great skill was always moving quickly from observation to imagination. At his best this slight of hand was so fast that the real and the imagined could switch places. His output had a darkness that was an extension of his own character but its task was always one of oblique illumination. Works like 120 Days were as much an act of theatre as anything else, driven by a deep desire to see an empty stage filled with characters, the lights set to provide spectacle for Breakwell's voyeuristic desire.

In BC/AD we are offered the chance to meet that gaze straight on. This film, his last work, documents the deterioration of the artist's features as they slowly give way to the cancer that was to kill him. Across this comes the artist's voice, relating extracts from his diaries, the humour of those slight observations finding new poignancy as their witness slowly departs the scene. This is difficult viewing, and all the more essential for it.

BC/AD by Ian Breakwell is at Anthony Reynolds Gallery between 10 - 19 February, 2011

Peter J. Maxwell