Correspondence: The Woodford Files 1940-50 is a research based art project initiated by Vivienne Dadour in 2015 to examine, document and exhibit a collection of hand written correspondence written between 1940-50 by members of the McManamey family and friends.
Vivienne Dadour’s art practice since 1992 has investigated issues that confront political and social issues concerning the complexities of identity and cultural difference. This has led her to seek interpretive strategies that consider ethical alternatives that challenge aspects of mainstream political discourse while encouraging dialogue and fostering tolerance of religious and cultural diversity. In her practice she focuses on specific communities and often works collaboratively with other artists.
Call to Blue Mountains Communities to contribute photographic and written documents from WW2 and post WW2 for inclusion in a significant exhibition Projectdocument: Enquiries/Inquiries –Perspectives on War, Blue Mountains Cultural Centre, Katoomba. August-September 2019.
Explorers: narratives of site in contemporary art practice was an extended, multilayered, accumulative exhibition project, which responded to the complex and overlapping narratives of the historic Woodford Academy site in Woodford NSW.
Blown Away is a collection of art works that deal with issues particularly urgent for today. Encompassing photography, sculpture, drawing and installation, the works in this exhibition are a collaborative project by two artists, Vivienne Dadour and Liz Ashburn. Here they reconsider the well known facts surrounding the US bombing of Laos in 1964 to 1973, and the continuing carnage in the Middle East.
Connections was part of, Taking Up Space, which coincided with the March 2015 launch of Future Feminist Archives by Contemporary Art and Feminism (CAF). The launch celebrated the 40th anniversary of International Women’s Day, and was supported by several exhibitions at regional and university galleries and artist run spaces.
Late in 2009 Maitland Regional Art Gallery invited Vivienne Dadour to be part of a project that investigated the stories of displaced European migrants at Greta, NSW. This offered Dadour the opportunity to continue her interest in the way crisscrossing metaphors of displacement and survival underlie migrant landscapes and to explore arts connection to the pressing issues of our time.
Vivienne Dadour’s images represented in Instincts, Traditions, Usages are derived from photographic archives and historical records about her ancestor’s social and political life in the late nineteenth century in the Redfern and Waterloo suburbs of Sydney, known as the ‘Syrian Quarter’.
Vivienne Dadour’s work during the period 1992 to 1998 explored how the events in Sarajevo were defined by ethnic essentialism, cultural intolerance and the politics of identity. In Invisible Realm she returns to these concerns through the autobiographical study of her Lebanese migrant family where prejudice was directed towards them because of their different physical characteristics and customs.
Sarajevo had its origins from a meeting between myself and Swiss/German artist Miriam Cahn in her studio in Basel, September 1992 – the beginning of the first winter during the siege of Sarajevo. For the first time in my life I was in very close proximity to death and destruction and was struck by the significance of this war for all of us.