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

Jeremy Deller is a purveyor of Englishness, a specific kind of patriotism that is entrenched firmly in the latter quarter of the twentieth century. His works are provocative, but almost bland in their media message. He depicts a culture that perceives, understands and translates a part of our culture that is taken for granted - Englishness as a given. In this, a new mid-career survey of the artist's work at Hayward Gallery, Deller presents series of works that display just why he is one of the most vital commentators on English culture today.

Divided into the thematic sections: Music, History, Tea & Wrestling and Bats & Black, Deller deconstructs the English psyche by way of the almost insidious way politics and the mass media pervade into our cultural consciousness and how we, as persons living Englishness, translate these into our daily lives. A recent work, the film Our Hobby is Depeche Mode, looks at how followers of the eponymous synth band incorporate fandom into their world. Works including Steel Harmony and Acid Brass cover contemporary classics with steel drum and brass band respectively.

This deconstruction of a cultural more by inversion of its exposition is explicit throughout Deller's work, and is evident in one of his most important pieces: The Battle of Orgreave. With film director Mike Figgis, Deller re-enacted the notorious chapter in British history where police fought pickets supporting the miners' strike. This work is representative of Deller's fascination with nurture, environment and a culture that is homemade, a culture that begins at home. Ethnographic, anthropologic, Deller, as his work Folk Archive suggests, is the British art world's folk historian. The show, called Joy in People, is just that. In this great and green land, these people are his pride and glory.

Jeremy Deller: Joy in People is at Hayward Gallery until 13 May.

Gavin Turk makes what I like to traditionally refer to as 'art'. And I don't mean contemporary art, or fine art, or modern art, of some definitional sense but Turk uses the tropes of 'art' (what could be historical, or fine art) and moulds and adapts it to work within his own sense of how art should be made today. Like Duchamp, there's the embedded notion in Turk's art of restyling the classical with contemporary reference. The result (for both artists, indeed any artist who can manage this successfully, and in this I count artists such as Grayson Perry) is work that is fun, engaging but actually also succeeds in saying something about how art is produced, exhibited and consumed.

For this, a show of new work by Turk at Ben Brown Fine Arts, the artist has taken as his starting point the Italian conceptualist Alighiero Boetti. Boetti, whose most famous work 'Mappa' is an embroidered map of the world with each country made from its own flag, was also Duchampian in his outlook: Believing the core of the work should be the concept rather than its execution.

Turk and his collaborators (both real and imagined, hence the industrial echoes in name of the show) have created for this exhibition a series of small tapestries, most that refer in some way to the artist himself, with others that work as a conceptual canvas to support the others. Made up mostly of embroideries, there are a number of detailed works of biro on paper, a couple of oils and - in one marvellously Duchampian ejaculation, and in more than a nod to Boetti - Turk has created his own version of the fountain: A life-sized bronze depicting Turk mounted at the peak of pile of stones, raising a running hose above, and onto, his own head. How marvellous.

Gavin & Turk is at Ben Brown Fine Arts until 20 April.