There's likely to be nothing timid about this annual festival of music, art and film. KYTN defines its agenda as radically experimental and largely participatory. Projects by artists such as influential film-maker Morgan Fisher, Basque sonic provocateurs Mattin, and Sharon Lockhart's Teatro Amazonas are staged together just to see what happens. Yet the liberated spirit of free improvisation is countered by a precise accordance with quite absurdly systematised procedures. So Christof Migone will ask audiences to join him in beating the floor 1,000 times for a piece called Hit Parade. Then there's a screening of Tehching Hsieh's Performance 1980-1981, a six-minute film recording the artist punching the clock every hour on the hour for a year. Daft, yes, but so committed it's convincing.  Dundee Contemporary Arts, Sun to 28 Feb  Design objects have become familiar art gallery fodder in recent years. Meanwhile, spangly new labels like Design Art have sprung up to explain a particularly baroque brand of product design. Chances are, though, that Ron Arad doesn't care for classifications. In 1981 when he grafted Rover car seats to a steel frame, he found himself catapulted into the design limelight. He has since blasted his own path, exuberantly playing off form against function. This exhibition gives visitors the chance to test his innovations in fittings and fixtures for themselves. Bookcases roll, vases bounce and an LED light chandelier transmits text messages.  Barbican Art Gallery, EC2, to 16 May  Not only does Jorge Pardo use just about all fine art media, he adopts techniques from architecture and interior and furniture design for a fine art purpose. So this retrospective is presented in the form of an elaborate photo-mural wallpaper. Anne Tallentire's work uses video performance, photography and sculptural assemblage to present fragmented narratives of urban glimpses. She obliquely focuses our attention on such apparent banalities as a yellow "Stop" sign being painted on a tarmac road, so they appear like a moving and revealing vocabulary of urban life. "I use the frame to find out what lies beyond it, at the limit of the image," she says.  Irish Museum Of Modern Art, to 3 May  Super-slick paintings featuring bland subjects – everything from blackbirds and flowers to Kate Moss – made Gary Hume the quintessential 1990s artist. With his bright blocks of colour realised with household gloss paint on thin, unyielding aluminium, this YBA's oeuvre was as knowingly soulless as the times, beguiling and frustrating in equal doses. In negotiating the bumpy transition of these themes into the 21st century, the last decade has seen the artist develop his play with surface through mediums as various as charcoal and luxuriant marble. New paintings on aluminium, in the candy-coloured pastel palette with which he made his name, offset works on canvas in darker hues: flowers in muted blues and oranges against an intense charcoal black.  New Art Centre, to 18 Apr  There's an air of an interzone no-man's-land about Henry Tietzsch-Tyler's paintings. They are heavily shaded, dense with obscurities, and just about as abstract as abstract can get, despite their surface of worried gestures. While the artist is open about some of his sources arising from his Anglo-German origins, his statements of intention are more concerned to be painstakingly honest than accessible. As a handy reference he cites the term Zwischenraum, which he defines as "a space or place that has no meaning in itself but rather gathers up the meanings of those things that press against it". There's something almost petrified about this art; these are paintings in which expressive impulses are muted, images suspended in uncertainty, yet for sure it's serious stuff.  The reputation that precedes Kenneth Anger's name is long and strange: godfather of avant garde cinema; occultist and Crowley devotee; Hollywood scandal-pedlar; prickly provocateur of pop culture. This show brings together two strands on which his taboo-busting cult reputation is based. The 1969 film Invocation Of My Demon Brother is a sexy, scary and wildly psychedelic plunge into the ominous vibe that marked the latter days of the 1960s. Mick Jagger provided the trippy soundtrack, while Lucifer was played by Bobby Beausoleil, a cohort of Charles Manson's later convicted of murder. There's also his neon work, Hollywood Babylon, a nod to Anger's infamous exposé of the same title, a book full of scabrous tales of the film industry's sinister side.  Sprüth Magers, W1, to 27 Mar  Leo Fitzmaurice has called himself a detourist who goes in for "design-bending". Cutting up and rearranging commercial catalogues, posters, flyers and cardboard packaging, his methods might seem basic, but their outcome can be amazing. He takes the detritus of consumer advertising and transforms it into a series of sculptural constructions that come on like maquettes for futuristic devotional architecture. Kim Rugg's cut-and-paste scrapbook aesthetic is targeted at more weighty media messages. With almost obsessive patience, she cuts out the printed letters and rearranges them into alphabetical or seemingly arbitrary order. The Guardian becomes "aaedGhinrTu". She has also chopped up postage stamps, stuck the tiny fragments onto envelopes, and successfully sent them through the post. It somehow makes you feel like cheering.  Castlefield Gallery, Sat to 3 Apr  Sometimes it feels like there's always a Henry Moore exhibition going on somewhere in Britain. This can dull his impact, alongside all that public sculpture he made. Yet Moore's reappraisal has been steadily building, thanks partly to a younger generation of artists peering into modernism's nooks and crannies. This Tate survey attempts to cut through the artist's over-familiar, conservative image, turning out one massive reclining figure or Mother and Child after another. Featuring 150 works, it's a definitive one-stop shop of a show which situates the artist's radical achievements against his changing times. Highlights include Moore's extraordinary, era-defining drawings of the Blitz.  Tate Britain, SW1, Wed to 8 Aug
Kill Your Timid Notion | Ron Arad | Jorge Pardo/Anne Tallentire | Gary Hume | Henry Tietzsch-Tyler | Kenneth Anger | Leo Fitzmaurice & Kim Rugg | Henry Moore