Dystopian is the word of the moment and every conversation I have about art these days seems to involve it. I blame JG Ballard. Well, I don’t really but his name is the one that comes up the most in the same conversation that I keep having. The bit that people miss is that for Ballard, dystopia is in the head and not in the field of vision. I’m not sure he would have recognised the Chapmans brothers’ big Hitler diorama as something that related to his work any more than Dante’s Inferno did. Which might lead you to think if you’ve seen James Cauty’s The Aftermath Dislocation Principle Parts 1 and 2 that I would dislike it for its all consuming view of a post-civil unrest, post-riot, post-revoltionary cityscape. Actually I love it – it’s clever, it’s funny, it’s committed. It plays tricks of scale and humour, it’s knowing in a raised eyebrow sort of way and it’s totally devoid of any earnest finger poking. You can read about it here and you can go and see it in London until 20 October.