Christian Marclay is best known as the author of Video Quartet, 2002 the most exciting artist’s video ever made. The four-screen extravaganza juxtaposes more than 700 clips from Hollywood movies of people singing, dancing and playing instruments not to mention screaming, whistling or smashing crockery. Formally tight, it starts with an orchestra tuning up and, after a glorious crescendo of brass bands, Scottish pipers and Hendrix guitar riffs, ends with a door slamming shut followed by blissful silence.

On Saturday at Shakespeare’s Globe, the Alternative Miss World was staged for the 13th time. Having launched this gloriously tacky event in his Hackney studio in 1972, artist Andrew Logan promises to carry on the tradition until the day he dies; but it’s last showing – at the Roundhouse five years ago – nearly bankrupted him. This time round, crowd funding has helped solve the problem.

I’ll admit, there's a scene that made me well up during the excellent Marina Abramović biopic The Artist is Present. If you've seen it you’ll know the scene I mean – it’s where Ulay, Abramović’s former partner, in art and in life, takes the seat opposite her on the last day of her MoMA marathon performance. And the tears come, hers and his and then ours, and she takes his hands, and then more tears. Oh god.

Home is truly where the heart is in writer-director Joanna Hogg's extraordinarily astute and artistically alive third film, which takes in the minutiae of a marriage. Exhibition is the story of two artists as they prepare to move out of the beloved home they have lived in for the best part of two decades and it imaginatively illustrates how where we live can challenge and define us. The star of Hogg's previous films (Unrelated and Archipelago) Tom Hiddleston - who has since gone stratospheric - sportingly cameos as a smarmy estate agent.

From the creators of the much-lauded The Oh F*ck Moment comes I Wish I Was Lonely, a participatory look at modern communication and the human psyche. Flouting the rules of mainstream theatre, this by turns poetic yet provocative piece encourages the audience to keep all mobile phones on (imagine!), to answer whatever calls may come through, and even to use Twitter and Facebook to our hearts' delight. And having provided our mobile numbers on a piece of card, we receive the number of an anonymous member of the audience in return.

A Bigger Splash... opens with Hans Namuth’s famous 1951 film of Jackson Pollock balletically dripping, flicking and pouring paint onto the canvas at his feet. Beneath the screen a long, scroll-like painting by Pollock lies on the gallery floor. The arrangement implies that this could be the painting the artist is creating on film while, subliminally, another message is being conveyed. The screen has pride of place, so all eyes are on the heroic artist; he is of prime importance and the work is perceived as a byproduct of his creative drive.

Well, if De Keersmaeker made us work hard for our enlightenment earlier in the week, we more than get our reward with her triumphant, astonishing Cesena in the second part of her double-programme designed for the Avignon Festival.

At the Hayward Gallery a young woman falls over backwards; her flight is magically arrested at a gravity-defying point of imbalance. Since she is blinking, one can safely assume that she is alive, present, and human rather than a waxwork or an illusion. How, though, does she sustain such an impossible position? No wires are visible, so she can’t be suspended, but look carefully and you can detect a rigid frame of some sort, hidden beneath her clothing to prevent her from crashing to the ground.

Camille O'Sullivan: Changeling, Assembly Rooms *****

The Assembly Rooms may have reopened for this year's Fringe following a very swanky refurb, but someone obviously forgot to put sufficient thought into the practicalities of getting people in and out during the festival. The opening night of Camille O’Sullivan’s brief sold-out run started 40 minutes late after a chaotic queuing system apparently devised in tribute to MC Escher left much of the crowd – which, thrillingly, included Les Dennis – more than a little testy.