As Keir Starmer’s leadership faces scrutiny for its “island of strangers” rhetoric—a phrase criticized for echoing Enoch Powell—the United Kingdom grapples with a deepening sense of social fragmentation. Recent trends, from aggressive anti-migrant demonstrations to widespread xenophobic riots and the persistent ranking of immigration as a primary voter concern, suggest that apprehension toward the “stranger” has become a defining issue of the era. Against this tense political backdrop, the 10th edition of the British Art Show, organized by Hayward Gallery Touring, opens this week in Coventry, aiming to confront these divisions through a creative lens. With its rhetorical echoes of Enoch Powell and dispiriting description of a nation fractured by difference, o ne of the moral low points of Keir Starmer’s tenure at Downing Street was his “island of strangers” speech. After widespread criticism, Starmer recanted his words, if not the sentiment behind them. But also wider, more inchoate anxieties about otherness and difference – holds such a potent place in Britain today, yet his choice of language was a reminder of how the idea of the stranger – representing immigration. In fact, from masked anti-migrant protesters on the south coast to xenophobic riots over the summer, from politicians vowing to stop the boats to immigration polling as the No 1 concern among UK voters, it’s probably true to say that fear of the stranger is the totemic issue of our times. Each new iteration prompts the same question: what does the show say about British art. Biennales and mega-galleries that make up today’s contemporary art world, the question is possibly antique, in the context of the globe-spanning fairs.
Established in 1979, this recurring exhibition serves as a significant platform for emerging artists living or working in Britain. Held every five years, it functions as a snapshot of the nation’s shifting cultural ambitions, previously featuring prominent figures like David Hockney, Bridget Riley, and Anish Kapoor. This year’s installment showcases a diverse lineup of critically acclaimed talent, including Alvaro Barrington, Lindsey Mendick, and Turner Prize winners Jesse Darling and Jasleen Kaur. The current curator has titled the exhibition “A Chorus of Strangers,” intentionally invoking the historical struggle between local populations and immigrant communities. The exhibition takes place every five years, touring across the country to offer a snapshot of the ideas and ambitions of a rising generation of artists born or based in Britain, founded in 1979.
The exhibition’s thematic roots reach back to the “Evil May Day” riots of 1517. On the eve of that year’s May Day festival, over 1,000 protesters marched through London to target foreign merchants and craftspeople. Despite “strangers”—as they were then known—comprising only 6% of the city’s population, they faced intense hostility and were described by contemporary chroniclers as “Libertynes, drunkards, murderers, thieves and Conspirators.” The unrest turned violent as mobs ransacked properties, eventually requiring military intervention that resulted in numerous arrests and executions.
This historical narrative was immortalized in the 1591 play Sir Thomas More, a collaborative work involving William Shakespeare. In a notable scene, More attempts to quell the rioting crowd by delivering a speech known as “the Strangers’ Case.” His plea for empathy stands as a historical counterpoint to the bigotry of the time, challenging the “mountainish inhumanity” directed at those perceived as outsiders. By centering this history, the British Art Show invites contemporary audiences to reflect on how art has historically provided a refuge for shared humanity during periods of profound national discord.
Beyond the socio-political implications, the exhibition delves into the psychological dimensions of the term “stranger.” Drawing on the philosophy of Julia Kristeva, the show posits that individuals are often “strangers to ourselves,” grappling with internal mysteries and repressed memories. This internal unease often mirrors the public anxiety detected in recent data; for instance, the 2025 Shattered Britain report by More in Common found that seven out of 10 people fear the country is currently “on the wrong track.” Such sentiments are frequently expressed through labels like the “New Dark Age” or the “Age of Unhingement.”
The exhibition highlights how art can navigate these complexities, offering a space where reductive “us versus them” narratives are replaced by creative richness. For example, artists like Mahtab Hussain have produced works such as the film Here Is the Brick, created with Guy Gunaratne. This film documents half a century of South Asian and Muslim life in Britain, utilizing a montage of family VHS footage, Islamophobic political rhetoric, and football chants. Ultimately, the work shifts toward a more hopeful resolution, capturing Liverpool fans singing in support of Mo Salah, bridging communal gaps through shared passion.
Other installations lean into the concept of the “stranger” as an embodiment of pure curiosity. By celebrating the idiosyncratic nature of local museums—such as the Museum of Victorian Science in North Yorkshire—some artists explore folk histories built on imagination rather than rigid facts. By encouraging viewers to embrace the “memories of memories,” the British Art Show seeks to challenge the disempowering structures of modern life. It suggests that, in an era where many feel like a “nation of strangers” disconnected from their surroundings, art provides a crucial method for reclaiming agency and collective understanding.
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