Claude Lévêque was a student at the School of Fine Arts of Bourges when he first discovered modern art, but it was in Paris, during a Christian Boltanski exhibition at the CNAC, that he discovered contemporary art.
His first exhibition was on the occasion of a collective event held at the House of Arts of Créteil, in 1982, where he presented an installation entitled Grand Hôtel.
For over twenty years, his artworks have been displayed in the most prestigious institutions : PS1, in New York (Stigmata, 1999), MAMCO, in Geneva (Albatross, 2003), Hamburger Bahnhof, in Berlin (Anthem, 2005), the Museum of Modern Art of the City of Paris (My Way, 1996), or ArtTower Mito, in Tokyo (Double Merry-go-round, 2003). In 2009, he represented France at the 53rd Venice Biennale with The Big Night, an installation displayed inside the French pavilion. Claude Lévêque is always ready to take up more specific challenges, such as taking over one of the last blast furnaces of Lorraine (All The Suns, 2007), an old 18th-century private mansion (I Had A Dream About Another World, permanent artwork, Hôtel de Caumont, Yvon Lambert collection, Avignon, 2001), a traditional Japanese house in the Echigo-Tsumari region (In Silence Or In Noise, permanent artwork, 2009, and, The Semaphore Garden, 2012), or a historic building (Death In Summer, Royal Abbey of Fontevraud, 2012). In 2014-2015, he was the guest artist at the Louvre Museum for two interventions under the pyramid and in the medieval moat. In 2019, for the 350th anniversary of the National Opera of Paris, he was invited to produce two in situ installations in the Opera Garnier and the Opera Bastille
On the occasion of Un Été Au Havre 2020, Claude Lévêque takes over Saint-Joseph's Church, designed by architect Auguste Perret.
« The essence of Claude Lévêque's work consists of installations articulating objects, sounds, and lights, and which powerfully take over places and spectators. Since the beginning of the eighties, he has developed a captivating universe, halfway between coercion and rapture. Traumatic or nostalgic memories of the permanent amazement of childhood, ambivalence of signs and affects, rage of desire, rebellion against the difficulty of being and the violence of the world, Claude Lévêque's universe finds its material and its object in destruction. » (Extract from a text by Christian Bernard, published in Le Grand Soir, Flammarion / Cultures France, Paris, 2009).