By viewing citizens as experts, the process of design can step away from the idealized versions of participation and the limitation of implementing them
Words by John Jervis
For better or worse, the visual arts haven’t featured large in Britain’s national mythologies of late. Yet, in September 2018, Theresa May launched what is now known as Festival UK 2022, proclaiming: ‘Just as millions of Britons celebrated their nation’s great achievements in 1951, we want to showcase what makes our country great today.’ This ‘Festival of Brexit’ was met with scorn, hilarity and anger among artistic communities – followed, last year, by infighting and accusations of hypocrisy as groups from Assemble to the White Pube accepted the government’s shilling.
So far, so normal. More interesting is that May chose to leverage popular affection for the Festival of Britain in her flawed attempt to heal the wounds of Brexit. Why, 70 years on, does this one cultural event – first proposed in 1943 as a commemorative rehash of the Great Exhibition (with a not-dissimilar mix of industry and imperialism) – endure in the national imaginati