David Levine‘s work encompasses performance, theater, installation, and video. Dividing his time between NYC and Berlin, where he is Director of the Studio Program at the European College of Liberal Arts, Levine has directed at the Atlantic Theater Company, the Vineyard Theater/NYC, and Primary Stages/NYC and has presented his performance projects at such international art spaces and surveys as MoMA, Documenta XII, Rohkunstbau, Town House Gallery/Cairo, HAU2/Berlin, PS122/NYC, and the Watermill Center, and the Sundance Theater Lab.
David’s work has been featured in THE NEW YORK TIMES, ARTFORUM, THEATER, ART IN AMERICA, BOMB, CABINET, THEATER HEUTE, ART REVIEW, DIE ZEIT, TDR, THE VILLAGE VOICE, TIME OUT, and the BELIEVER, and he has received grants from the New York Foundation for the Arts, the Kulturstiftung Des Bundes, and Etants Donnes/French Fund for Performance.
HABIT is a process-based installation that reorients the way we watch performance. It fuses TV production, durational performance, behavioral psychology, and realist theater into a project that asks basic questions about spectatorship, performance, routine, reality and realism.
Developed at Robert Wilson’s Water Mill Center, spring, 2010, and Mass MoCA in winter, 2011. Premiered in Toronto’s Luminato Festival in summer, 2011. Subsequent performance at P.S. 122 in 2012.
Text by Jason Grote, Environment by Marsha Ginsberg
“…I could barely tear myself away…within (the) synthetic construct lies the truth of human emotion.“-East Hampton Star
To challenge the very notion of performing, David created the critically acclaimed performance piece, BAUERNTHEATER – a production that combined elements of theater, land art, performance art and endurance art. American actor David Barlow became the farmer from Heiner Müller’s THE RESETTLER (DIE UMSIEDLERIN), and for a month plowed fields and planted potatoes for 10-hour shifts in a rural area north of Berlin.
New York Times
VENICE SAVED: A SEMINAR
an interactive play-cum-seminar in which actors (with Levine as colloquium facilitator) acted out pieces of Simone Weil’s great lost play, Venice Saved, while audience members debated the role of politics within American Theater, and political theater within American life.
Presented at PS 122
Levine assembles and displays thousands of unsolicited headshot-and-cover-letter submissions from around NYC. The installation questions the very notion of a “culture industry”, as well as the literal and figuratively wasteful qualities inherent to “the business.”
Presented in Berlin, NYC and LA
Art In America Magazine