Leandro Katz

Leandro Katz (born 1938) is an Argentine-born writer, visual artist and filmmaker known primarily for his films and photographic installations. His works include long-term, multi-media projects that delve into Latin American history through a combination of scholarly research, anthropology, photography, moving images and printed texts.
Early life and career.
He lived and worked in New York from 1965 to 2006, and currently lives in Buenos Aires. He has been a member of the faculty at the School of Visual Arts, Art History Program, Brown University, Semiotics Program, and a professor of film production and theory at the College of Arts and Communication at William Paterson University.
Larger works.
Katz's notable long-term works include "The Catherwood Project", a photographic reconstruction of the two 1850s expeditions of John Lloyd Stephens and Frederick Catherwood to the Maya areas of Central America and Mexico, "Project For The Day You'll Love Me", which investigates the events around the capture and execution of Che Guevara in Bolivia in 1967, "Paradox" which deals with Central American archaeology and the banana plantations of the United Fruit Company in Honduras and Guatemala, "Vortex", which addresses the social and literary history of the rubber industry in the Amazon region of the Putumayo River based on a report by Roger Casement, and "Tania, Masks and Trophies", a project that examines the figure of Tamara Bunke, the only woman who fought together with Che Guevara in his last campaign of 1967.
Other works.
Leandro Katz has produced many books and artists’ books and eighteen narrative and non-narrative films. His most recent books, "Natural History", and "The Ghosts of Ñancahuazú", were published in 2010. His artist’s book dealing with matters of time and daily life, "S(h)elf Portrait", was published in Buenos Aires in 2008. In 2019 he published "Bedlam Days: The Early Plays of Charles Ludlam and The Ridiculous Theatrical Company" with over 200 never-before-seen photographs of Ludlam's avant garde plays of the 60s and 70s, and with extended quotations from "Queer Theatre" by Stefan Brecht.
Recognition.
Leandro Katz's work has earned the Guggenheim Fellowship, the Rockefeller Foundation Fellowship, and the National Endowment for the Arts Fellowship, and he has received support from the New York State Council on the Arts, the Jerome Foundation, and the Hubert Bals Fund, Rotterdam International Film Festival. His film, "The Day You'll Love Me" won the Coral Prize at the Festival del Nuevo Cine Latinoamericano de La Habana, among others.
Exhibitions.
Leandro Katz has exhibited as an artist, and screened his films, at institutions including the Museum of Modern Art, Whitney Museum of American Art, the New Museum of Contemporary Art, El Museo del Barrio, the Brooklyn Museum, MoMA PS1, the Chicago Art Institute, the Museum of Contemporary Art, Los Angeles, the Buenos Aires Museum of Modern Art, the Bienal de La Habana, Cuba, and the Museo Nacional Centro de Arte Reina Sofía, among others. 
Recent exhibitions include "Encuentros de Pamplona 72: fin de fiesta del arte experimental", Museo Nacional Centro de Arte Reina Sofía, Madrid, "Natural History", Henrique Faría Gallery, NY, "Imán-New York", Fundacion Proa, Buenos Aires, "10,000 Lives" – Gwangju Biennale, South Korea, "Leandro Katz: Arrebatos, Diagonales y Rupturas" (Raptures, Diagonals and Ruptures), Espacio Fundación Telefónica, Buenos Aires, a retrospective with films and installations from 1965 to 2013, curated by Bérénice Reynaud, and "Leandro Katz | obras" (Works and Alphabets), Herlitzka+Faria, Buenos Aires, Argentina. "El Rastro de la Gaviota – (The Seagull’s Footprint)", Tabacalera, curated by Berta Sichel, Madrid 2017. Getty Museum – "Photography in Argentina 1850-2010" The J.Paul Getty Museum, curated by Idurre Alonso and Judy Keller, Los Angeles, California 2017. "Proyecto para el día que me quieras y la danza de fantasmas - (Project for the day you'll love me and the ghost dance)" -Museo Universitario de Arte Contemporáneo - MUAC, Mexico City, 2018, and Fundación Proa, Buenos Aires, curated by Cuauhtémoc Medina, Amanda de la Garza, and Cecilia Rabossi.