In the case of the Project for the day you want me, the exhibition brings together for the first time the nine installations that summarize the work of Katz about the image of Che Guevara crossed by the photographic record of his tragic campaign in Bolivia. In particular, the way in which the construction of his public image contrasts with the clandestinity of his different appearances as a guerrilla along with his comrades, as well as the impact that the image of his corpse produced in the imagination of the 20th century. Katz also explores the materiality of memory and history through the use of different display supports and the displacement of the two-dimensional image to one that is capable of occupying space. Based on historical research, the images reconstruct the visible evidence of the event,
The exhaustive historical and journalistic research carried out, lead him to conform a polyphonic chronology -1963 to 1997- about the Bolivian campaign of Che and his companions, which allows a simultaneous reading of facts coming from the most diverse documentary sources - journalistic media, reports and military, historical and political texts. And given that these sources of information refer to specific dates and incidents recorded by both sides of the struggle, and that are often ideologically disparate and often erroneous or contradictory, the chronological order of them allows to unravel microhistorical facts that deserve to be revealed .
The installations include two film works: the documentary essay El día que me quieras (1997), in which, through the narration and the interview, Freddy Alborta, the Bolivian photographer who took the final images of Che Guevara's body after his capture and execution in 1967, leads us through a reflection on photography and death. Exhumation (2007), an interview with Alejandro Incháurregui, the forensic anthropologist who was part of the anthropological teams that found the clandestine tomb of Ernesto Che Guevara in 1997.
The photographic series of the Catherwood Project reconstructs the expeditions of the 1840s of Frederick Catherwood and John L. Stephens in Yucatan and the Mayan world. By contrasting the drawings of Catherwood and the archaeological ruins in their current state, Leandro Katz adopts the point of view of the English explorer at the same time that he restores through elaborate photographic techniques a past tense.
In connection with this latest project, Paradox and La huella de Viernes , a set of installations, photographs and videos that show the genealogy of the colonial assaults of the Mayan lands are also on display. This chronological account addresses the invasions of the territory from the discovery of America until the 1990s. Through this genealogical and archaeological trace, the modes of operation of the colonial structure in the past become evident, and in the present through the diligent documentation of the political processes of banana exploitation.
By reviewing a key artist in Latin American conceptual practices, the MUAC will remember the 50th anniversary of the death of Che Guevara and the period when the Latin American revolution appeared as a key to the horizon. At the same time, the exhibition advances on those projects in the work of Leandro Katz linked directly with the history of Central America and its ghosts.