Opened yesterday at Tate Modern, and following on (conceptually, at the very least) from last week's post on the recent exhibition of new work by Gavin Turk, we have Alighiero Boetti. This venerable institution present a new show by the Italian, a master of the contemporary if ever there was one.

Boetti was a key member of the Arte Povera movement that was borne in Italy in the 1960s. Literally meaning 'poor art', the group of like-minded collaborators used everyday objects and materials to create works generally traditional in their own form, but that also functioned as political and social commentary. The influence of Arte Povera has been large and wide-reaching. Tate Modern have staged Arte Povera exhibitions twice since the turn of the millennium: First in 2001, then again in 2009. Serpentine Gallery's 2011 summer exhibition was of Boetti's compatriot and compadre, Michelangelo Pistoletto. Much of contemporary art has been affected by the movement, ranging from post-1960s conceptual art to the yBa's.

This exhibition is the first solo show by an artist working under the rubric of Arte Povera (though as soon as it was given a name Boetti began to distance himself from it) at Tate Modern. The work is rich and varied. There are conceptual self-portraits (including images made from concrete rocks, a photograph of the artist holding hands with himself, and a life-sized bronze statue which was paid homage to in the above exhibition, Gavin & Turk). Postcards and maps figure largely, as well as tapestry. As an art project, Boetti opened a hotel in Kabul in 1971. In his trips to Afghanistan he drew strongly on Peshawar textile and knitting. Each of these, mostly produced by local Afghan women, contains personal messages to the viewer in their own language. This is just one example, and representative of the magic and appeal of Boetti: His is a global landscape, derailing borders to reveal that human nature is, fundamentally, equal.

Alighiero Boetti: Game Plan is at Tate Modern until 27 May.

Blanca Li is the polymath figure behind such choreographic creations as Kanye West and Adam Levine leading a gaggle of children through a toy store at night in the Michel Gondry-directed video for Heard 'Em Say; or the lapdancing Alison Goldfrapp in her eponymous band's video for Train. Most famously, she was the choreographer behind Blur's Music is My Radar, where black-clad men face off against white-clad women in a vision of 1960s modernity; as well as the iconic video Around the World by Daft Punk.

As director of her own dance company, Li brings her latest creation to the UK. Elektro Kif is currently on tour around the country, making waves on every stage it's been performed. Li is renowned for fusing disparate dance combinations together to startling effect, and developed from Parisian urban street dance, Elektro Kif takes elements of hip-hop, breakdance, electro, disco and vogue and transposes this into rollicking stage show, with a specially-commissioned score that, similarly, fuses electro, hip-hop, breakbeats and house. The plot is thin, but it really doesn't matter. This is sharp, fun and a beautiful challenge.

Elektro Kif is at the Queen Elizabeth Hall, Southbank Centre, on 02 & 03 March.

Onomatopee is the design group that reflect, counter and question contemporary culture through talks, workshops, research and presentation. One of the Dutch design world's most outspoken arts organisations, they come to London for the weekend to launch their 2011 series entitled Comfort Zone & Disillusion, bringing their own brand of quixotic questioning and social subversion.

The weekender exhibition kicks off tonight with a talk, launch and opening at So Far, the Future, the West End gallery and project space. Here the group will discuss the works contributors including heyheyhey, Willem Claassen, Nacho Carbonell and Jozua Zaagman, and how they define our age as being "…characterised by the cumulative establishment of 'comfort zones' in which we feel at home." Stop Playing Safe, there's more to life than 'wellbeing'.

The launch of the box set of publications, featuring four periodicals and a textual compendium has been produced in collaboration with students from the Dept. of Critical Writing in Art & Design at the Royal College of Art. This new course, rapidly establishing itself within the fabric of the London art world, presents modes of enquiry parallel to Onomatopee: Progressive qualities in thinking about art and design in order to approach and engage people in the most cutting edge of today's art.

Onomatopee 50.5-50.8: Nest 2011

Talk, launch and opening: Tonight, Friday 24 February at 2000

Exhibition closes 26 February 1800 at So Far, the Future