Artist Spotlight #17: MARCUS KUILAND-NAZARIO
Rhizomatic Arts spotlights artists who push us to think differently about how artists live and work. MARCUS CECILIO KUILAND-NAZARIO describes himself as “a Cultural Mercenary” and an “Art Doula.” He says: “I am less interested in ‘the field’ and more and more interested in ‘the field workers’. How can I help my fellow artists? How can I become a better artist?”
Photo by Eleanor Goldsmith
Marcus, you’ve built a career making fantastically avant-garde art and helping other (equally fantastic and avant-garde) people make art, often in non-traditional spaces. How would you describe your contribution to the Art world?
I feel like an Art Doula. I have helped birth many places that continue to thrive and serve communities to this day, including Highways Performance Space, Clean Needles Now, The 18th Street Arts Center and Oficina de Proyectos Culturales in Puerto Vallarta Mexico. I have also contributed to the city through my work at Community Arts Resources [CARS] over the years as a producer, programming consultant and arts educator. I have had the opportunity to participate on the their team producing large scale programs that serve the public such as Glow, Ciclavia, the Santa Monica Festival, Los Angeles Philharmonic’s Centennial Celebration and family programs at the Getty Center, Getty Villa and Fowler Museum. I am super proud of the work I have curated at Human Resources that has included artists Dorian Wood, Hiroshi Clark, Sarah Johnson, Jennifer Locke, Ampersan, Liz Miller-Kovacs, Austyn Rich and Mariel Carranza. I really love bringing a new experience to an audience. It is important to me to support the work of other artists. Early on I was told to pick one thing and stick to it. I just can’t. And at 53 that is not about to change. I really feel like all of the things I do come from the same place, the same well – no matter what it is. It kind of all feels the same to me whether it is a museum project or a drag parade on a bridge in a park! I have creative ADD. I am primarily a performance artist. I also curate performance art, design sets and costumes, installations, objects, produce other people’s things and work as a freelance Programming Consultant, Creative Consultant and Project Director. It sounds like model/waitress/actress but I really do get to do all of these things. I am a Cultural Mercenary.
How does the idea of collaboration manifest in your creative process?
I am part of several communities that I turn to for inspiration and support. I prefer collaboration. Even my solo works are created with contributions from other artists. My work usually involves elements that are beyond my skill set, so I am constantly working with my colleagues to make the art happen (and picking up new skills). It makes my work better and stronger, and more fun to make. I do enjoy solitude and reflection. I spend a lot of time alone. But when it comes time to pull the trigger and make the work, I like being surrounded by other artists. I create best when I’m working with others. Exactly why I love being an Artist in Residence at 18th Street Arts Center, and having a studio in Chinatown. The conversations I have with other artists constantly keeps my brain and spirit flowing. I became an artist at 18th Street Arts Center and Highways Performance Space, steeped in intersectional multigenerational community/ies. Everything we did was done in collaboration with others. It is how I learned to be who I am. I co-run [with Allison Wyper of Rhizomatic Arts] a writing group for artists that meets bimonthly that has really upped my game in ways I didn’t even think it would. I really enjoy entertaining, and I get most of my best ideas when in good company. I also consider my spiritual practices - rooted in the Caribbean Afro Diaspora - vociferous collaborators.
What would a sustainable career for an “Art Doula” like you look like?
I’ve now managed to successfully clothe, house and feed myself and support the works of others through working exclusively in art and culture. And I’ve been sustaining that. It is quite a hustle and I could not sustain my practice and mental health without the support of my friends and community/ies. I suppose financial success in one of the realms I work in would be a lovely way to support the other pursuits. A sustainable career looks like one where I continue to make art and support the art and vision of others, and not need anything, and be a healthy happy person. An LVMH [Moët Hennessy Louis Vuitton] sponsorship would be lovely, as I do love clothes and shoes. And champagne.
Photo by Hiroshi Clark
You seem to be everywhere in the history of Los Angeles’ art scene, which isn’t surprising given how many institutions you’ve helped to start or been involved in. Given your historical perspective, how do you see the field changing? Or, if you prefer, how do you see yourself changing in the current ecosystem?
Early on I was raised to be a Citizen Artist by Linda Burnham, Iris Chacon, Tim Miller and Guillermo Gómez-Peña. Now I am becoming selfish in my middle age and focusing on my own work more and more. I am less interested in “the field” and more and more interested in “the field workers”. How can I help my fellow artists? How can I become a better artist? That’s what I love about Rhizomatic Arts: it’s about artists helping artists. The personal is the political. I am excited to see so many artist run and led initiatives. It is a really exciting time to be in Los Angeles, especially as a performance artist. It feels like 1989 all over again.
What’s on the horizon for you?
I am designing for Lionel Popkin once again. This time for his Oedipus and Antigone Project premiering at the Getty Villa in the Spring. I'm on his team designing sets and costumes. along with lighting designer Chris Kuhl, composer Aaron Drake and video and performance artist Meena Murugesan. I'm also hard at work on a performance installation opening this summer at the 18th Street Arts Center exploring masculinity through a series of interviews with men about their relationships with their fathers titled Macho Stereo, inspired by Juan Rulfo’s seminal book Pedro Paramo. Its funded by a grant from the City of Santa Monica Cultural Affairs Division. I’m writing for The LA WEEKLY once again and I will be to launching my new performance series in the fall called The Wrinkle Room.
