New ideas are everywhere in British politics. Let's measure national happiness! Let's make welfare proactive! The problem is that so many of these big ideas for a "big society" come from a government whose painful economic policies make the enthusiastic ideological overproduction look like the most cynical window-dressing – liberal-minded tinsel on a Tory tree whose needles turn out to be razors. Is nobody doing any ambitious social thinking that is not a veil for callous cuts?  Step forward, the Serpentine gallery. This will come as no surprise to fans of its co-director Hans Ulrich Obrist, whose publications, projects and patronage of artists amount to a sustained attempt to reconnect art, ideas, and the world and have made the Serpentine the most creative public art space in London. The latest manifestation of the slightly wacky sense of mission that flourishes at the Serpentine is a community art project with a difference. Skills Exchange brings together artists and community groups and makes a point of linking young artists and older people: out of a residency by artist Tom Hunter on the Woodberry Down estate in Hackney, east London, comes a film he made with older residents called A Palace for Us.  This is a magical film. It weaves the memories of people who grew up in east London and have lived on the estate since it opened into a silvery thread of meaning illuminated by dramatisations of their experiences filmed in the aged, but dignified, Woodberry Down buildings and public spaces. The estate, begun in 1946 and completed in 1963, was like a "palace" to those who remembered the East End slums, remembers one participant. But the film is also a palace of memory. Contemporary art often seems obsessed with youth: here it listens to the stories the old have to tell.  It evokes all our stories. Britain in 1945, out of the ruins of war, built the welfare state that clever rich kids are now so casually pulling apart. Estates like Woodberry Down embody an ideal of decent housing for all that was born out of the miseries of the 1930s and terror of the 1940s. A Palace for Us gently and acutely bears witness to this history that is now being dismantled.  Hunter's film is not a rant, but a moving homage to lives and memories that today are obliterated by harsh and violent caricatures of the white working class. Everyone should go to the Serpentine to learn to see through his subjects' eyes. The government should go.
Jonathan Jones: The government should head down to the Serpentine to see Tom Hunter's magical film that retells the stories of older residents on an east London estate