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

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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)


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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




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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)


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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.

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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.