Director Biography - Scot Cotterell
Scot Cotterell (b.1979) is an Australian born young inter-disciplinary artist known for his works concerned with the experience of mediated environments. His work uses mixtures of sound, video, images and objects in gallery and live contexts to create experiences that reflect upon cultural phenomena. Scot holds and MFA from the University of Tasmania School of Art and has been nominated for the Qantas Foundation Contemporary Arts Award , The Alice Springs Art Prize and awarded the Shotgun 2010 commission by Detached Cultural Foundation and CAST, a Sound Travellers national touring grant, and several state and national funding supports through the Australia Council for the Arts and Arts Tasmania including projects in the Netherlands, Germany and Spain. Scot has also received the Jim Bacon Foundation Honours Scholarship, and Australian Post-Graduate Award Scholarship and a Gordon Darling Foundation professional development grant. Cotterell's work has been performed and exhibited nationally and internationally.
In addition to his gallery practice Scot has chaired Hobart's influential Artist-Run Space Inflight, sat on the boards of Contemporary Art Services Tasmania, The Plimsoll Gallery Committee, and the advisory panel for We Are Here International Artist-Run Initiative Symposium. Scot has been state representative for the ElectroFringe festival and has written commissioned essays and reviews for Cyclic Defrost, Devonport Regional Gallery and Wyndham Regional Gallery. Scot has curated exhibitions and releases for CAST Gallery, Boiler Room: National Improvisation Laboratory and The Academy Gallery UTAS, and co-curated exhibitions at BUS Gallery, The Plimsoll Gallery and Inflight ARI.
Romantic Conceptualism is a solo exhibition. Using the exhibition title as a prompt, various paid amateur actors create videos and photographs in response. Using content commissioning web-services to hire actors from across the world, at a fixed USD rate, the works become studies of the aesthetics of this peculiar platform. They come together as a collective conjuring, a self-referential loop, a chant, a drone. A distributed idea and a redundant manifesto.
Through the process of search, find, order and transaction the disparate agents offering these low cost production services in their 'online global marketplace' are bought together as outsourced assistants in the production of new cultural material across cultural, social and economic borders.
The exhibition title, the text prompt used to make the work and the main textual content of the individual works is one and the same, Romantic Conceptualism. A dialectic term with a binary central pin, on which it revolves. That central pin, as if through a dead specimen, holds a term before us for study, a term that suggests a point of emergent difference, cellular change, evolution. The point at which a cultural phenomena morphs a sub-level offspring. The point at which one DJ says to another 'I don’t make french house music, I make filtered french house music'
The term is sexy, semi-paradoxical and clunky.
It suggests two modes in operation together, a categorical bracket, a box in which to place things.
An adjective and a mode of thought, the prompt also acts as a carrier, injected into this distributed content creation system, populated at either end by humans but facilitated at every point in between by machines, codecs and devices.