The Aftermath of Dislocation Principle

Jimmy Cauty

ADP 1 is a 40ft container that houses a vast post-apocalyptic landscape populated only by the police and media crews. The landscape is set somewhere in Bedfordshire and is known as ‘Old Bedford’. Each artwork is a 1:87 scale model housed in a shipping container. The models are viewed through observation ports in the sides of the containers.

Born in 1956, Cauty is a British artist and musician born in Liverpool. He is best known as one half of the hit-making duo The KLF, as a co-founder of The Orb and a leading innovator in the birth of the ambient house genre and as the man who burnt one million pounds.

Typically known for his iconoclastic and topical ‘stamp art’ that takes the form of real stamps, first day covers and limited edition prints. In 2003, he produced the limited edition ‘Black Smoke, Stamps of Mass Destruction’, a print series which was the focus of huge media attention (featuring on the front page of the Times). These prints were eventually withdrawn after the Royal Mail threatened him with legal action.
In 2004, Cauty installed a gift shop, Blackoff, at the Aquarium Gallery, based on the government’s ‘Preparing for Emergencies’ leaflet. The installation included ‘terror aware’ items, such as ‘terror tea towels’, ‘attack hankies’ and ‘bunker-buster jigsaw puzzles’. He commented: ‘The gift shop becomes the place we can explore our branding ideas, cash for trash — it represents the futility and the glory of it all.’
In October 2008, Cauty opened an exhibit at the Aquarium entitled ‘JCauty&Son’ in which, in collaboration with his teenage son, Cauty produced work across a range of media that highlighted the violence present in cartoons. Twenty-five percent of the proceeds went to Amnesty International.
In June 2011 he held a public exhibition at L-13 entitled ‘A Riot in a Jam Jar’ consisting primarily of a series of scale dioramas depicting violent confrontations between British rioters and police, each contained within an inverted glass jar.

Jimmy Cauty is now focused on the traveling exhibition of The Aftermath Dislocation Principle (ADP) is a trilogy of artworks by Jimmy Cauty on a nationwide tour across the UK.

Kate Boucher (b 1972) is a British artist. Her practice crosses between 2D and 3D, using representations of landscape to explore notions of residence, dislocation and precariousness and their relationship with the articulation of grief and emotional repair. She uses disparate media in order to better examine and analyse her preoccupations with the same notions, attempting to find a better expression of these concerns. There is an intention that these works should elicit both a sense of disquiet but also, perversely, comfort, provoking vacillation between dissonant responses without requiring a resolution. She completed a Master of Fine Art at West Dean College in 2016 and a BA in Public Art at Chelsea School of Art UAL in 1994.

Bénédicte Emsens is a multi-disciplined French artist. Starting as a film-maker and photographer, she developed her practice to encompass print making and painting. Her work explores landscapes inspired by film’s stills, photos and memory. Each of her works present a landscape imagined, manifest from another, yet not the former and becoming entirely new and mysterious unto itself. Every sensation is a possible landscape. She completed a Master in Psychology in Belgium, a Master in Anthropology in Paris and a Master in Printmaking at the Royal College of Art in London in 2008.

Kate Fahey (b. 1983, Kilkenny) is an artist working with print and installation. Working across the boundaries of print and sculpture, her practice explores the fallibility of mass proliferated, digital images and engages with landscape through contemporary screen based perspectives, such as Google cartography, aerial, satellite and elevated views. At the core of her practice lies a concern for the surface and skin of the image through which she attempts to channel affect and a more embodied type of visuality, positing the surface as a site of mediation, transfer and transformation. Through the haptic nature of the work, Kate Fahey examines humans’ relationship with the digital and seek to connect with and to slow down our experience of images. She received a BA in Fine Art Printmaking from Gray’s School of Art, Aberdeen and an MA in Fine Art Printmaking at the Royal College of Art, London.