The Aftermath Dislocation Principle
ADP RIOT TOUR 2016
The Aftermath Dislocation Principle
The highlight of Dismaland in 2015, has been developed and re- engineered in 2016, and now tours riot sites of the world in a customised 40ft shipping container.
Coming to The New Adelphi Club Hull, 17th October – 24th October 2016
At 35+ sites across the UK
Housed in a 40 ft shipping container, The Aftermath Dislocation Principle (ADP) is a monumental post-riot landscape in miniature. This dystopian model village is set somewhere in Bedfordshire, where only the police and media teams remain in an otherwise deserted, wrecked and dislocated land – all in 1:87 scale and viewed through peepholes in the side of the container.
The origins of this piece lie in a series of works known as A Riot in a Jam Jar (L-13, 2011). Here Cauty constructed tiny scenes of a riotous nature inside upturned jam jars in which violence, humour and socio-political commentary vied for position in contained and domesticated bite-size portions. Likewise, The ADP in a Shipping Container plays out its viewing requirements according to the nature of its construction – not this time for mantelpieces, display cases and gallery plinths but as a totally self-contained off-grid artwork that can go anywhere, to be where it is needed, to seek its audience. The ADP tour explicitly draws on the iconography of the travelling show, the spectacular attraction or the hit and run event, and plays that off against the transient violence and upheaval of civil disorder followed by its aftermath … always moving on, powering across the country on a 30-tonne haulage truck, in parody of the alleged contagion and momentum of riotousness itself.
Over the past 30 years James Cauty has distinguished himself as a musician, artist and cultural provocateur through fusions of high art and popularist mediums – often to spectacular or controversial effect. From a string of number one hits as founder and member of The KLF, to implementation of the The K-Foundation and the seminal action, Watch the K-Foundation Burn a Million Quid (1994), to later artistic experiments with sonic weapons, stamp collecting and model making, cultural subversion and a gleeful level of high humour are elemental to all the work whilst never failing engage its audience in critical pleasure.
As a highly charged and engaging experience, no one fails to be touched by the Aftermath Dislocation Principle. “… engrossingly vivid… funny… terrifying… fascinating…” The Independent
The concept of the tour evolved during the development of the work, reflecting the meanings inherent in both its form and content. When it was realised that the model was best viewed through peepholes, it became apparent that it should be enclosed. When it was clear that it would fit neatly inside a 40 ft shipping container, it became obvious that the work should travel … but to where? Although not explicit, its relationship to A Riot in a Jam Jar suggests that the ADP’s ruined landscape is the result of some kind of mass riot:
“… the proffered narrative telling us about an undefined upheaval, a riot with no articulated catalyst and an odd outcome. The only people left populating the dystopian ruin are the police – the rioters nowhere to be seen. In the absence of civilians to perform disobedience it falls to the constabulary. They paint graffiti, or scratch their heads”.
Augustin Macellari, Crack Magazine, 10.03.2016
As such, the creative ‘logic’ for the tour demands that the ADP should visit riot sites around the country to explore this function of cause and effect, this narrative of bemusement – sites where a riot or significant civil unrest has occurred: places of real ‘Aftermath’, be it from more recent events or historic ones significant in the development of our socio-political and cultural landscape. In no way is the intention to explain the ADP concept or to romanticise the role of social disorder, but instead to tap into that stream of consciousness, whether radical or reactionary, pitting historical narratives against Cauty’s more chaotic, (and ironically) less contained creation.
In support of this proposition we have commissioned Ian Hernon1 to write a short essay summarising the history of civil insurrection in the UK, and its cause and effect on our social order. This will be published in a book accompanying the tour, sitting alongside photographic details of the model and a contrasting essay by Jonathan Downing which draws on eschatological and existential narratives in the work.
Furthermore, at each stage of the tour we will broaden these frameworks through the fine tradition of pamphleteering; issuing colourful ADP propaganda alongside more level-headed leaflets that discuss each location’s ‘riot’. Social media will be co-opted in the same way, and our exhibiting partners around the country (arts institutions or charities, smaller groups, or committed individuals) will also be encouraged to develop their own events and programmes around the ADP and to engage their local communities in any way they see fit.
From previous engagements with the ADP (before it was containe(re)d), we understand the broad appeal of this artwork and its compelling allure. Its construction from traditional (if somewhat subverted) model-making kits gives the work an instantly understandable, recognisable, and almost filmic quality, where the glee of its deconstructive confusion can be played out through direct channels. It is easy to understand, yet complicated. From small children to the art literati, viewing times are drawn out occasions as the finer details of this intricate work are discovered, often accompanied by chuckles of laughter. It is also not uncommon for multiple visits to take place, and through these engagements the work is explored and, as a result, it comes alive. So, as the ADP makes its way among over 35 sites across the country, we hope to generate a continual feedback loop of stories and meanings as greater numbers of people are exposed to this project, developing new audiences and establishing the ADP as a major, innovative, and ongoing artwork.
2 To be discussed further following the final tour date in Bedford on Christmas Day. Downing’s essay also extends the ADP narrative of ‘Old Bedford’ to the creation of the utopian extensions of ‘New Bedford’, which were in turn influenced by a review he wrote (for the Prophetic Inspiration and Scriptural Authority project site) after viewing the original model at Banksy’s Dismaland in August 2015.
The 2016 ADP Tour launches with a Private View at the Bruton Art Factory in Somerset (23rd April), then moves swiftly on the Trinity Centre for the People for Mayday, where it will stay for 2 weeks, coinciding with the Anarchist’s Book Fair and the centre’s annual garden party. Then it will travel down to Exeter for the city’s annual Art Week, where it will be shown in the shopping centre as part of the NOSE programme. After that it will go to Cardiff to be hosted by the Metropolitan University, then through Merthyr, on to Birmingham, Northampton and so on.
TOUR LOCATIONS GUIDE
BRUTON (Yeovil) 1831 Reform Act Riots BRISTOL 1980, ’87 St. Pauls Riots, 2011 Stokes Croft, Bristol Bridge 1793, Queens Square 1831, EXETER 1854 Bread Riots, CARDIFF 1919 Bread Riots, 2011 UK Riots, BIRMINGHAM 2011 UK Riots, Handsworth, Lozells; 1981,’85.’91, 2005 Handsworth, NORTHAMPTON 1874 Bradlaugh Riot, 2011 UK Riots, ANDOVER 1914 Phylis Beckenham Riot, 1830 Swing Riots, STONE HENGE 1985 Battle of Beanfield, 1988, ’89, ’99 Free Festival Riots, TOTTENHAM, 1985, 2011, BRIXTON, 1981,’85,’95, NOTTING HILL, 1958 Race Riot, 1976 Carnival Riot, HACKNEY, 2011 TRAFALGAR SQUARE, 1989 Poll Tax, OXFORD, 1991 Blackbird Leys, MANCHESTER, 1819 Peterloo, 1981, 2008, 2011, 2013, TOXTETH, 1981, LEEDS, 1735 – 2011 Corn Price Riots – ‘Pockets of Disturbance’ UK Riots, SHEFFIELD, 1812 food riots, 1922 unemployed riots,1981 race riots, 1984 miners strikes, FOLKSTONE, 2016 Calais ‘Jungle’ refugee camp evicition, BRIGHTON, 1964 Mods and Rockers, TOTNES, 1831 Reform Act riots, PLYMOUTH, 1831 Reform Act riots, TOLPUDDLE, 1830 Swing Riots, TWYFORD DOWNS, 1992 M3 Road Protests, GREENHAM COMMON, 1982 peace Blockeade, HASTINGS, 1964 Mods and Rockers, KINDER SCOUT, 1932 Mass Trespass, HULL, 1976 Prison Riot, NEWCASTLE-UPON- TYNE, 1991 Meadow Well Riot, EDINBURGH, 1736 Porteous Riot, GLASGOW, 1919 Black/Bloody Friday, CAERNARFON, 1752 Corn Riot, 1839-43 Rebecca Riots, STOKE- on-TRENT, 1842 Pottery Riots, 2001 Race Riots, NOTTINGHAM, 2011 UK Riots; 1958 Race Riot, ALDERSHOT, 1946 Barracks Riot, CROYDON, 2011 UK Riots, NORWICH, 1443 Priory Riot; 1549 Ketts Rebellion; 1977 Red Army; 2011 UK Riots, BEDFORD, Armageddon, THE END
EXHIBITING PARTNERS (to date)
Bruton Art Factory; Trinity Centre for the People, Bristol; Exeter Art Week and NOSE; Cardiff Metropolitan University; East Side Projects, Birmingham; Hampshire Cultural Trust; OVADA; New Art Exchange, Nottingham; Devonport Guildhall, Plymouth; The Florrie Community Centre (The Florence Institute Trust), Toxteth; Adelphi Club, Hull; Festival 23; New Mills Festival; Root 1066 / Hastings Council; The Sir Philip Game Centre, supported by Surrey Clubs for Young People, Croydon; The Shift, Norwich, The Chemic Pub, Leeds.
THE AFTERMATH DISLOCATION PRINCIPLE was first made in 2013, toured the Netherlands in 2014, was the highlight of Dismaland in 2015, has been developed and re- engineered in 2016, and now tours riot sites of the world in a customised 40ft shipping container.
THE L-13 LIGHT INDUSTRIAL WORKSHOP and Private Ladies and Gentlemen’s Club for Art, Leisure and the Disruptive Betterment of Culture, founded by Steve Lowe in 2009, is a studio/publisher/gallery that provides a vehicle/platform for a small group of artists to support their individual and group practices through exhibitions, publishing and other creative projects.
L-13 has been described as:
“… a co-operative severance from the art world values of success, failure and authorial identity, achieved through a vast imaginative enterprise and resulting in a potent intensity of meanings”.
About the book
THE AFTERMATH DISLOCATION PRINCIPLE
2016 Tour Guide
Prophetic Promotions Press 2016
Bound in card wraps, 21.5 x 16 cm, 64 pages, full colour. Design and Introduction by Steve Lowe
Contributing authors: Jonathan Downing and Ian Hernon