Natural Glitch

Natural Glitch curated by Michal Baror at Musrara College New Gallery in Jerusalem  is on view until the end of the year.

including the photographic series Forget Me Not

Hadas Satt
Avishai Platek
Maya Perry
Miri Segal
Dana Flora Levy


New Media Room “Last Man” Bruno David Gallery

Press Release

“The Last Man” was created while in quarantine during the Covid 19 Pandemic of 2020. Live streaming webcam footage, recorded live from cities, beaches, airports, restaurants, schools and zoos around the world while these places were in lock down, are mixed with footage and soundtracks from the 1960s sci fi films “The Last Man on Earth” and “The Last Woman On Earth”. The result is an eerie film, where reality and science fiction are interchangeable.

Artsy link

Rock, Paper, Scissors

Dana Levy, Cheryl Molnar, Seçkin Pirim and Suzanne Song

Curated by David C. Terry

Opening Reception: MAY 9, 6-8PM

C24 Gallery

560 West 24th Street New York, NY, 10011


Even The Trees Bleed

Curated By Raphie Etgar

The Exhibition deals with the aesthetic, cultural, national and political meanings between trees and men as independent creatures discovering their weaknesses, instincts and interdependence upon one another, and between themselves to the natural environment surrounding them.

Artists include: Naoko Ito, Giuseppe Licari, Yael Bartana, Larry Abramson, Shen Shaomin, Garet Lapher, Miki Kratzman Dana Levy, Moshe Gershuni, Orit Hofshi, David Tartakover, Fouad Agbaria, Shirley Faktor,Joram Razov, Guli Silberstein, Natasha Shakhnes, Amir Yatziv, Nava Harel Shoshani

University of Michigan Museum of Art

The World to Come: Art in the Age of the Anthropocene awakens us to the physical and social effects of the Anthropocene, a much-debated term used to define a new geological epoch shaped by human activity. Structured around ecological issues, the exhibition presents photography, video, and sculpture that address subjects and themes related to raw materials, disasters, consumption, loss, and justice. More than thirty-five international artists, including Sammy Baloji, Liu Bolin, Dana Levy, Mary Mattingly, Pedro Neves Marques, Gabriel Orozco, Trevor Paglen, and Thomas Struth, respond to dire global and local circumstances with resistance and imagination—sustaining an openness, wonder, and curiosity about the world to come.


Interior Monologues

Visual Arts Center New Jersey

Curated by Mary Birmingham

This group exhibition explores the real, imagined, or implied narratives connected to interior spaces. Several of the artists in Interior Monologues depict real places—some populated by specific characters—while others invent new places based on their own experience or imagination. Many of the works suggest hidden histories or embedded memories and emotions. The interiors devoid of people are like empty stage sets waiting for actors to animate them. Whether public or private, all of these interior settings are activated by the presence (or absence) of humans.

Interior Monologues is a multi-media show, incorporating painting, sculpture, drawing, collage, video, and site-specific installation. Participating artists are: Matt Bollinger, Erin Diebboll, Susan Leopold, Dana Levy, Summer McCorkle, Anne Muntges, Casey Ruble, and Paul Wackers.

Whitehot Magazine review


The Weight of Things, at Fridman Gallery is a work of art that must be experienced. The audio track of the rumblings of actual earthquakes allow the viewer to feel the vibrations of the earthquake depicted in the video. Sitting in the basement-level media room allows the viewer to feel not only the vibrations of the soundtrack, but also the subtle vibrations of the subway below one’s feet.

Levy’s source material, 19th century etchings of two rooms at the Palace of Versailles – the bedroom of Luis XIV and the Salle of Constantine, reduce the vibrantly colored opulent chambers, to outlines that are further reduced to piles of rubble. Watching the clearing of the rooms gives the viewer a sense of purification that one feels when watching a team of professionals clear out a hoarder’s house, revealing walls and floors hidden for years, or when Marie Kondo comes in and makes people organize their own homes. The maximalist Baroque art and decoration, further maximized by the Rococo, falls away to the stark minimalism of empty rooms and there is a feeling of relief when the earthquake purifies them.


The Weight Of Things / Fridman Gallery

Dana Levy’s two-channel video installation The Weight of Things depicts the interiors of two rooms of the Palace of Versailles – the bedroom of Louis XIV and Salle de Constantine – in the midst of an earthquake. Taking 19th century etchings of the rooms as source material, Levy separates and animates the intricate details: sculptures, tiny wall moldings, picture frames, furniture, balustrades. One-by-one, the elements tremble and crumble to the floor, as if brought down by the thunderous raucous of the accompanying soundtrack. The lavish interiors, symbolic of absolute monarchy and military expansion, are thus reduced to heaps of rubble surrounded by starkly bared walls.

Levy edited the soundtrack from recordings of actual earthquakes, which (along with other natural disasters) disproportionately affect impoverished parts of the world. Installed in the basement media room of the gallery, the work is driven by low, subterraneous frequencies, physically affecting the viewer. Versailles, a western symbol of power, control and self- aggrandizement, is diminished within minutes by a momentary act of nature, culminating in a stunning moment of quiet, stillness and clarity. The work shakes us to the core, strips away the vanity of material possessions, and exposes the fragility of a world built on conspicuous consumption and inequity.

At Fridman Gallery, she took part in Enchanted Space: Marilyn Minter, Anna K.E., Dana Levy (2015), organized by Barbara London, and The World and Its Things in the Middle of Their Intimacy (2013), curated by Sarah Walko.

FRIDMAN GALLERY – 169 Bowery, New York, NY 10013 – 917 262 0612 – –


ZUMU Museum on the move

The Weight of things on Display at Zumu – Curated by: Milana Gitzin Adiram and Ofra Harnam

ZUMU is a mobile museum that aims to create fresh ways to broaden access to art, particularly in communities where that access is traditionally limited.

Israel’s first mobile museum aims to stop this cycle by traveling to a new city every few months, bringing the best of Israel’s contemporary arts scene directly to communities across the country.

Zumo won the 2018 Sothebys art prize

MACRO Asylum- The MACRO – Museum of Contemporary Art Rome Italy


Rassegna videoarte novembre

Relational multidisciplinary device, “common” space, MACRO ASILO rethinks the museum as an institution, taking its cue from its constituent criteria [from ABC], offering itself as the venue in which to forge a new encounter between artists and the city, between art and society. Project by Giorgio de Finis.

The artists on the slate in the first few months of the project include: Michelangelo Pistoletto, Daniel Buren, Dora Garcia, Krysztof Bednarski, Pietro Gilardi, Alberto Garutti, Marzia Migliora, Liliana Moro, Pablo Echaurren, Gianni Pettena, Melania Mazzucco, Elina Chauvet, Wim Wenders, Alfredo Pirri, Gianni Asdrubali, Giovanni Albanese, Gianfranco Notargiacomo, Ria Lussi, Piero Mottola, Giuseppe Stampone, Fabrizio Crisafulli and the Stalker collective.

November 6th Screening of The Weight Of Things

November 26th Screening of Desert Station

Frankfurt Jewish Museum

During this time, we are showing a temporary contemporary art exhibition while we allow visitors to experience the architecture of the new building. A varied programme with films, concerts, performances and talks with artists rounds off the anniversary week. Reflections on roots and emigration run throughout the programme as a common thread.  For instance, in the rooms of the Rothschild Palace, in addition to a work by Israel artist Nir Alon, we will display sculptures by Ilana Salama Ortar and video works by Dana Levy, artists whose projects deal with transition, migration, remembrance and identity.


 The Fountain (2011, 03:03 min)This was Home (2016, 17:44 min) and Silent Among us (5:00 min, 2008)

 The World To Come: 
Art In The Age Of The Anthropocene 

 The World To Come: 
Art In The Age Of The Anthropocene curated by Kerry Oliver Smith At the Harn Museum of Art in Gainesville Florida.
September 18, 2018 – March 3, 2019
Participating artists:
Jennifer Allora and Guillermo Calzadilla, Claudia Andujar, Sammy Baloji, Subhankar Banerjee, Huma Bhabha, Liu Bolin, Edward Burtynsky, Sandra Cinto, Elena Damiani, Dornith Doherty, Charles Gaines, Mishka Henner, Felipe Jácome, Chris Jordan, William Kentridge, Wifredo Lam, Maroesjka Lavigne, Eva Leitolf, Dana Levy, Yao Lu, Pedro Neves Marques, Noelle Mason, Mary Mattingly, Gideon Mendel, Ana Mendieta, Kimiyo Mishima, Richard Misrach, Beth Moon, Richard Mosse, Jackie Nickerson, Gabriel Orozco, Trevor Paglen, Abel Rodríguez, Allan Sekula, Taryn Simon, Nicole Six and Paul Petritsch, Laurencia Strauss, Thomas Struth, Bethany Taylor, Frank Thiel, Sergio Vega, Andrew Yang, and Haegue Yang
The show will be accompanied with a catalog with texts by Trevor Paglen, T.J. Demos, Natasha Myers, Marisol de la Cadena and Joanna Zylinska
I will debut my video work Emerging From The Swamp which was created while I was artist in residence at the Everglades National Park.

A special program of recent video works from Israel at Musée de la Chasse et de la Nature

Musée de la Chasse et de la Nature

A special program of recent video works from Israel

Curated by Hadas Maor

 In correlation with the France-Israel Season of culture Musée de la Chasse et de la Nature presents a special program of recent video works from Israel. The program is structured in three parts addressing the multifaceted relations between nature and culture in general, and specific aspects typical to the case of Israel, in particular. The program enables the viewers a broad acquaintance with recent and prominent endeavors extracted from the vibrant contemporary art scene in Israel. Evolving from the playful and the naïve to the poetic and the profound, the program emphasizes works which promote reflection and debate relating to aesthetic and political questions at the heart of the very being of Israel. Within this context the program also focuses on works addressing questions of place, memory and identity. Problematizing the complex relation between body and land in the specific context of the land of Israel, the harsh political realm of the region is manifested in the works in an array of subjective, poetic ways.

Participating Artists:

Michal Rovner, Amir Yatziv, Sharon Glazberg, Itay Marom, Dana Levy, Lee Yanor, Gilas Ratman, Sigalit Landau, Yosef Joseph Yaacov Dadoune, Hila Benari, Tal Shochat, Fatma Shanan, Ayelet Carmi and Meirav Heiman, Tzion Avraham Hazan, Raida Adon, Raafat Hattab, Thalia Hoffman, Daniel Kiczales, Itzik Badash, Yael Bartana, Nira Pereg

Animals and Nature June 13th

Nature and Culture June 20th

Culture and Identity June 27nd

I will be screening

Silent Among Us,  Aftermath, The Wake

This Was Home at The Petach Tikva Museum Of Art

A selection of video works at Spot- The Petach Tikva Museum Of Art curated by Hadas Maor. including works by Dor Guez, Thalia Hoffman, Raafat Hattab and Dana Levy I’ll be screening my 3 screen work This Was Home.

NURTUREart’s Single Channel

Eden Without Eve will be screened at NURTUREart’s Single Channel at Anthology Film Archives In NYC

May 12 and 13
Doors at 2pm, Screening at 2:30pm
Free and open to the public

Curated by Vanessa Albury, Ivan Gilbert, and William Penrose.
Each 60 minute screening will be followed by a conversation with participating artists.

Saturday, May 12 Program
featuring works by

Rob Carter
Fiona Cashell
Michael Hanna
Franck Lesbros
Dana Levy
Cole Lu
Jeremy Olson
Mauricio Saenz
Jan Staller
Ezra Wube

To the End of Land

28 April 2018, National Gallery of Modern Art, New Delhi

 Curators: Drorit Gur Arie, Or Tshuva

Artists: David Adika, Anisa Ashkar, Yael Bartana, Yosef Josef Dadoune, Atar Geva, Avital Geva Sharon Glazberg, Leor Grady, Judith Guetta, Sigalit Landau, Dana Levy, Shahar Marcus, Nira Pereg, Orit Raff, Tomer Sapir, Dafna Shalom, Tal Shochat, Gal Weinstein, Sharon Ya’ari.

The exhibition presents a wide range of references and approaches to recent changes in the economic and social landscape in Israel, as manifested by the appearance of natural scenery in Israeli contemporary Art. Engagement with the land, its borders, scars, and produce runs through the work of many artists active in Israel today. The chosen title, “To the End of Land,” strives to draw attention to some of the cultural, social, and political aspects embodied in their artistic explorations of land. On the one hand, it points at the broad environmental-ecological dimension. It refers to the depletion of natural resources in the Anthropocene era, typified by acceleration of geological and environmental processes due to human activity, and to the resulting fear of “the end of land” as a meta-cultural concern which goes beyond national boundaries. On the other hand, it offers a porthole through which to look at some of the major cultural issues in present-day Israel, alluding, among others, to its land being a source of an ongoing strife.
Whether consciously or not, the local engagement with land and the accessibility of natural resources is thus charged not only with a romantic view of the local landscape or with internal questions of development and social status, but also with ideological and political questions pertaining to the reality of conflict and borders. The immediate, ironic link between land and territory in the context of a nation-state constantly shifting between change and entrenchment is clear at face level. This affinity is reinforced by the profound bond between man and land in Judaism. The Book of Genesis recounts the creation of Adam, the first man, from the earth, a link which is further emphasized through the etymological connection between the Hebrew words for man (adam) and land/earth/soil (adama).
Striving to shed light on additional dimensions in our intricate relationship with the place and land, the exhibition highlights individual life stories which reflect a rich cultural heritage as well as collective hopes for prosperity and rootedness. It touches on rituals of burial and regeneration, the transformations in the Zionist ethos of “land tilling” vis-à-vis market forces and globalization, and the challenges posed by a rapidly forging future.


Subte Exhibition Center

Montevideo, Uruguay

Curated by  Juan José Santos

Lucia Antonini & Lucas Agudelo, Javier Arce, Ivan Argote, Tania Bruguera, Catalina Bunge & Ana Corti, Edgar Calel, Luis Camnitzer, Matilde Campodónico, Alan Courtis, Dora García, Cristina Garrido, Alejandro Leonhardt, Dana Levy, Iraida Lombardy, Cristina Lucas, Ark Grace Ndiritu, Nicolás Rupcich, Luis San Sebastián.

Departures and The Abandoning on a billboard at 10 Times Square in NYC

“24:7” was a month (from December 4, 2017 to January 4, 2018) video art takeover by an alliance of international artists on the billboard at the corner of 41st St and Broadway (10 Times Square). This project brings together artists from Asia, Africa, Europe, Australia and the Americas and tests the power of art to meaningfully engage the public.
“24:7” is produced by Tzili Charney and ZAZ 10TS and is organized by Artis, Ayelet Danielle Aldouby, Tzili Charney, Danspace Project, Tamar Dresdner, Tamar Ettun and Naomi Lev. Works appearing courtesy of Artis and Danspace Project are marked accordingly.

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Video documentation: Departures    The Abandoning

Like a Story… Le Havre

Dead World Order on view at At MuMa Le Havre

The show includes work by  Yves Bélorgey Gabriele Basilico, Rut Blees Luxemburg, Charles Decorps, Véronique Ellena, Lucien Hervé, Matthias Koch, Manuela Marques, Sabine Meier, Corinne Mercadier, Olivier Mériel, Bernard Plossu, Anne-Lise Seusse and Xavier Zimmermann, Rebecca Digne, Christophe Guérin and Dana Levy



Radiator Gallery presents Mage  a group show with  the work of Aron Louis Cohen, Dana Levy, Enrique Ramírez, and Erica Stoller. The exhibition is accompanied by piece of performative writing and publishing by Christopher Hamamoto and Federico Pérez Villoro.
Organized by Roxana Fabius

This Was Home at Screen City Biennial

Screen City Biennial – Migrating Stories  curated by Daniela Arriado (CL/NO) and Tanya Toft Ag (DK).
Screen City Biennial in Stavanger, the first Nordic Biennial dedicated to the expanded moving image in public space, returns in October for its third edition (previously Screen City Festival 2013 and 2015). Entitled Migrating Stories, the 2017 Biennial presents expanded moving image artworks from a broad international range of artists dealing with current complexities relating to migration. Artworks reflect upon journeys, diaspora and post-colonialism, transformation of place, and ‘alien’ realities. Artworks also address topics surrounding a post-oil future and migration in relation to climate change.

Budhaditya Chattopadhyay (IN) / Christa Joo Hyun D’Angelo (KOR/US) / Dana Levy (ISR) / David Blandy (UK) / Duncan Speakman (UK) / Enrique Ramírez (CL) / Eric Corriel (US) / Evangelia Kranioti (GR) / HC Gilje (NO) / John Cleater (US) / John Craig Freeman (US) / Larry Achiampong (UK/GH) / Lodovica Guarnieri (T) / Lorenzo Gerbi (IT) / Lotic (US) / Marcel Odenbach (DE) / Marcus Neustetter (SA) / Margarida Paiva (PT/NO) / Maria von Hausswolff (SE) / Matti Aikio (NO/FI/SAMI) / Mirelle Borra (NL) / Olivia McGilchrist (JM/FR) / Rona Yefman (ISR) / Sam Wolson (US) / Shezad Dawood (UK) / Søren Thilo Funder (DK) / Tanja Schlander (DK) / Telcosystems (NL) / Tobias Zielony (DE) / Transforma (DE) / Trevor Snapp (US/KE) / Utopian Union (International) / Vasco Araújo (PT) / Yael Bartana (ISR) / Yucef Merhi (VZ)


Art Market Budapest guest of honor

In collaboration with the Israel Museum, Art Market Budapest has selected and will personally present at the fair location the following artists:

  • DANA LEVY as Guest of Honor of Art Market Budapest 2017
  • ILIT AZOULAY as Guest of Honor of Art Photo Budapest 2017, the fair’s photo section.

The Israeli artist (currently living in New York) working chiefly with time based media and photography, was selected in cooperation with the Israel Museum (Jerusalem) as Guest of Honor artist of Art Market Budapest 2017.

Impermanent Displays A selection of works by Dana Levy is a central accompanying exhibition of Art Market Budapest 2017 at the fair location.

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‘Lives Between’ opens at the Center for Contemporary Art, Tel Aviv

The Center for Contemporary Art  presents Lives Between, a group show opening on August 31st. Featuring work by thirteen artists, the exhibition is curated by Sergio Edelsztein and Joseph del Pesco in collaboration with Kadist, San Francisco. An earlier version of this show was exhibited at Kadist, San Francisco in March 2017.

Curated by Sergio Edelsztein and Joseph del Pesco

August 31st – October 24th, 2017

The exhibition begins with a recognition of the growing number of international artists working and living between two places. Artists who were born in one country and, for a variety of reasons, have crossed oceans and borders to live in another. Because of this transition, their artistic practice and cultural identity is caught in tension between their country of residence and country of origin.

Some of the artists in the show migrated with their families as children, or were born somewhere else, but carry with them another culture through their parents, or through the color of their skin, and chose to make this paradox an aspect or impetus for their work. Others migrated later as adults, in a conscious move to improve their professional possibilities. Others simply move to survive.

In this way, these artists choose to live “in between” two places. Developing their personal and professional life in one place (working, raising a family), but when producing their work they address social and historical issues relevant “back home.” Many of them produce exclusively in their country or region of origin. Upon returning they realize they are both insider and outsider, and in a sense inhabit a third culture that exists between the two places. They come to learn the benefits and challenges of an interstitial identity.

But the exhibition takes shape not only in the artists’ biographies and production process alone. Each work is evidence of a process of thinking about the migratory and the transitional, cross-cultural contaminations, evidence of explorations into a cultural narrative, or manifestations of mobility. These artists are aware of their complicity in globalism’s trade routes, and are subject to the changing political climates in the two countries they live between. As a result they have a unique vantage point, and at a moment when borders are being renegotiated, and waves of refugees fleeing conflict zones have become urgent issues, both from a humanitarian perspective and as political points of contestation.

In the last few years, and especially in the last months, the terms migration and emigration are taking new significance. When our antecedents migrated to new worlds, they endured long sea voyages half way across the globe knowing they were tearing themselves away from familiar landscape, their family and culture in an irreparable way. Communication was expensive, slow and unpredictable, and few could afford a return visit.

Technical developments in travel and telecommunication in the 20th Century have changed this dramatically. Lately, the world has witnessed the influx of migrants from the Middle East moving into Europe, talking with those left behind on their cell-phones as they walk. Eventually they settle somewhere, but as soon as the political situation back home permits, they may return, or at least come back often to visit their loved ones via low-budget flights. In the meantime, they’ll work and live somewhere else, all the while keeping in touch daily and routinely with all the cultural, political, social and familial ties. Today, cultural and economic detachment from their origin country is no longer a concern, and for many it’s not an option.

Even before the present migration crisis in Europe, policymakers started to shift their views away from traditional colonial concepts of migration as a threat to (a superior, white, western) culture towards a more pragmatic view. The benefits of immigration are now clear both to the influx country as well as to the emigrating one, at least in terms of the economy. Europe and the US need more low-cost working hands to adjust for their shrinking and aging population (respectively). Aid agencies dealing with development, for instance, identified long ago that the best aid delivered to communities is not the one that goes through governments, as corruption and bureaucracy make these ineffective in many countries. But instead through the hundreds of millions in foreign currency funneled each month from workers in Europe and the US directly to their families back in Africa and Central America.

These are critical drivers of positive economic growth. Studies have already shown that large numbers of migrants return in the end to their land of origin, after having acquired skills, or just to retire comfortably in the warmer climate of their country of origin. Indeed, migration still appears to be one of the most natural instincts in human beings, as it wasn’t until the 19th Century that nationalist movements decided people “belonged” to a certain land, and that the land, in turn “belongs” to them. Still, in spite of all the favorable economic and social data on migration, for right wing xenophobes—in governmental positions or opposed to them—migration has become a major political issue used to rally support.

The case of artists is different than the hordes of refugees flocking to Europe these days. They belong to the migrating elites, along with the intellectuals, and businessmen that normally anticipate a large migratory movement. In any case, their actual movement and insertion is, in most cases, significantly smoother than work migrants and refugees in terms of documentation, social and professional support in their new home. Once integrated, their movement back and forth to the place of origin has always been part of their reality.

In the art-world things have been like this for a long time. Since the early 20th century artists have tended to move to cultural centers to profit from exposure and contact with other artists, a more sophisticated public, and a more robust market. Paris, then New York, London, today – Berlin, Mexico City and Brussels.

Looking at art exhibitions and catalogues in the last decade or so, we have become accustomed to reading wall-labels noting an artist “lives and works” between two or more different cities. Lagos and Paris, Brazil and Oslo, Tel Aviv and Berlin, Tehran and New York etc. These artists actually live in two places at the same time, enacting an under acknowledged but potent form of cultural exchange, mobility and cross-pollination in their work. From this point of view, we feel that artists living and working “in between” are a key example of what migration in the present day ought to be seen as: not only a survival strategy or new way to “make a living”, but an opportunity for multicultural exchange and the enrichment of new and hybrid forms of cultural production.

The participating artists are:

Aslan Gaisumov (Grozny, Chechnya / Moscow, Russia)
Binelde Hyrcan (Luanda, Angola / Nice, France)
Claudia Joskowicz (Santa Cruz, Bolivia / New York, USA)
Clarissa Tossin
 (Porto Alegre, Brazil / Los Angeles, USA)
Dana Levy 
(Tel Aviv, Israel / New York, USA)
Dani Gal (Jerusalem, Israel / Berlin, Germany)
Ella Littwitz
 (Tel Aviv, Israel / Ghent, Belgium)
Enrique Ramírez (Santiago, Chile / Paris, France)
Judi Werthein (Buenos Aires, Argentina/Brooklyn, USA)
Otobong Nkanga (Kano, Nigeria / Antwerp, Belgium)
Pawel Kruk (Koszalin, Poland / Bolinas, USA)
Rivane Neuenschwander (Belo Horizonte, Brazil / London, UK)
Runo Lagomarsino
 (Sao Paulo, Brazil / Malmö, Sweden)


Almost Home: Between Staying and Leaving a Phantom Land

At Dorsky Gallery New York 11-03 45th Ave | Long Island City, NY 11101

Featuring the work of Wafaa Bilal, Keren Benbenisty, Juanli Carrión, 
Daniel Greenfield-Campoverde, Claudia Joskowicz, Ayesha Kamal Kahn, 
Dana Levy, Esperanza Mayobre, Elham Rokni, Karina Aguilera Skvirsky
Curated by Shlomit Dror

Opening Reception: Sunday, May 7, 2017, 2-5 pm

Featuring This Was Home- a 3 screen documentary 17:44min  2016




Lives Between group show Kadist San Fransisco

Silent Among Us video 2008 at Lives Between 

Artists: Pawel Kruk, Dani Gal, Runo Lagomarsino, Dana Levy, Aslan Gaisumov, Elham Rokni, Enrique Ramirez, Otobong Nkanga, Clarissa Tossin

The exhibition begins with a recognition of the growing number of international artists working and living between two places. Artists who were born in one country and, for a variety of reasons, have crossed oceans and borders to live in another. Because of this transition, their artistic practice and cultural identity is caught in tension between their country of residence and country of origin.

Exhibition co-curated by Joseph del Pesco and Sergio Edelsztein (Director, Center for Contemporary Art, Tel Aviv)


This Was Home screening in San Fransisco

In conjunction with the Contemporary Jewish Museum San Fransisco

Join filmmaker Dana Levy and Kadist curator Joseph Del Pesco for a screening and discussion of This Was Home (2016; 17 min). This Was Home explores displaced generations: the artist, her father, and grandfather. Program is presented in conjunction with “Lives Between” at Kadist (organized with the Center for Contemporary Art in Tel Aviv) and From Generation to GenerationInherited Memory and Contemporary Art. 

At Kadist San Fransisco

Surface Unrest MIYAKO YOSHINAGA GALLERY 547 W 27th St, 204, NYC

Surface Unrest is a group exhibition featuring works by four emerging/midcareer artists Dana Levy, Taro Masushio, Anh Thuy Nguyen, and Margeaux Walter. The show is curated by Alice Yinzi Yi.

In Dana Levy‘s Intrusions: A Ghost From The Future (2014), a video of a present-day public space in a historical mansion is projected onto four vintage photographs of the same space once inhabited by Mark Twain, Arturo Toscanini, and other distinguished intellectuals. The juxtaposition of the original rooms and the present space illuminate the layers of space and time.  In this theatrical setting, a ghostlike female (the artist herself) appears as an intruder from the future and gradually meets the past by touching the age-old walls, windows, mantles, etc.


‘Hyper Nature’ Banim Gallery, Rishon Lezion Israel

group exhibition ‘Hyper Nature’ at the Banim Gallery, Rishon Lezioncurated by: Keren Weisshaus

‘The Fountain’ (2011. One channel video, 2:34 min.) and Photographic print: Emerging From The Swamp.

1TheFountain_Video_Still_Dana_Levy swamplife1

This Was Home ; 3 screen, 17:00 min documentary. World premiere

Premiere of documentary

This Was Home.

Original Music by Uri Frost

Will be screened at the Ashdod Museum of Art as part of (Dis)Place Curated by Yuval Beaton and Roni Cohen-Binyamini

Yael Bartana, Pinchas Cohen Gan, Itai Eisenstein, Dani Gal, Dor Guez, Yoav Horesh, Luciana Kaplun, Uri Katzenstein, Tomer Kep, Tamar Latzman, Dana Levy, Eli Petel, Philip Rantzer, Elham Rokni, Ilana Salama-Ortar, Eyal Segal, Khen Shish, Lior Shvil, Anan Tzuckerman, Amir Yatziv


EFA + Middle East Curated by Bill Carroll

Samira Abbassy, Keren Benbenisty, Wafaa Bilal, Noa Charuvi, Mahmoud Hamadani, Amir Hariri, Dana Levy, Armita Raafat, Shai Zurim

Minerals 2013 Duratran print in lightbox


Conversations From The Edge – School of Art Institue Chicago

Impermanent Display Conversations From The Edge- School of Art Institue Chicago

Gene Siskel Film Center, 164 N. State St. Chicago

Tel Aviv–born, New York–based artist Dana Levy is known for her symbolically resonant studies of art museums, natural history collections, and other sites of preservation. Her careful choreography meditates on the political and environmental histories that undergird their display, often highlighting processes of migration and displacement. She presents a selection of works shot at the Mazor Mausoleum archaeological site in Petah Tikva, Israel; Maison de l’Armateur in Le Havre, France; and Invertebrate Zoology department of the Carnegie Museum of Natural History in Pittsburgh, PA, in addition to a series of new films created as part of a residency in the Everglades National Park. Presented in collaboration with the Video Data Bank.