Brexit, ugly feelings and the power of participatory art in Grayson Perry: Divided Britain

Abstract

The polarised Leave/Remain positions offered by Brexit hampered opportunities for Britons to articulate the complexity of their affective political allegiances. Turning our focus on Grayson Perry: Divided Britain (2017, C4, Swan Films), we argue that Perry’s role as artist-ethnographer enabled an exploration ‘from below’ of the tensions occluded by deliberative democratic debate in febrile post-Brexit Britain. Intervening in a conjuncture of which Brexit was symptomatic, Perry’s arts documentary with Channel 4 provided the space to articulate newly configured affective and political affiliations in terms both of Britain as place and Britishness as identity. Drawing on Chantal Mouffe’s conception of agonistic politics, we argue the programme provided a space of confrontation for groups defined as polarised ‘camps’ to contest and debate through their emotional and symbolic differences which exposed the limitations of the ‘post-political’ formation. However, while the programme visualises Perry’s ‘left populist’ strategy of crafting two similar pots through ethnographic listening and interactions with Leave and Remain communities, we argue the focus on predominantly white communities ultimately offers a limited notion of what ‘a people’ with the potential to revitalise democracy in contemporary Britain could be.