How does a shift in the context of a piece of art influence its ability to be recognised and the validity of the work? How can art be judged from another culture? Is quality universal?

universal language versus subjective approach
The impulse of Sideways lies in two important permutations for Bandeh Ghiasabadi, in context as well as in space. On one side there is her change of study area -- from physics to sculpture -- on the other side, moving from Iran to the Netherlands.

The natural sciences focus solely on questions for which an answer can be found with the help of repeatable observations, experiments based on comparison and the creation of theories supported by scientific logic, a logic that is a universal language in itself. This universal language exists independently of the person practicing it.

Art has improvised and organic characteristics where the subjective emphasis of the maker plays an important role. 'How I saw the world was the key to the creation of art. But what was my vision of the world? What did I see around me? What was my motivation to sculpt something and why did I do it in that particular manner? The only person who could answer these questions was me and my next question was: who am I?'

'Who am I?' This question had a double answer. Who was I before I came to the Netherlands and who have I become since? All my recognisable visual and cultural references such as landscape, architecture, light, views, behavioural codes, names and language seemed to have lost their meaning. The context upon which I had, until then, based my expression remained unrecognisable to the outside world.'

aim
It is important to be aware of the changing form of identity. The recognition of art that will be constantly created by new identities, that in their turn, creates new contexts and vice versa, that, in the first instance, are not a mixed product of the collective memory of confirmed identity. European art is primarily based upon a Christian tradition. In the last decennia European society has changed. These changes are based, in part,  on a new form of immigration from non European countries. There is talk of a new group of Europeans who don’t share the collective memory and the historic developments rooted in Christian tradition with the 'old' Europeans. This group observes Europe from a context other than that which is described in European history.

This shift in social identity demands a certain consciousness. The goal is to stimulate this consciousness. This can be done by asking questions that look at the abstraction which forms the foundation of this shift.

research, execution and presentation
The research question that Sideways asks is: 'what happens if an artist is in an environment where his/her references of culture, history, language – those of style, metaphorical choices and the way that expression is influenced – are not known?' The concepts that separate artwork from other forms of representative media are expression, style and rhetoric. These concepts are closely interwoven with knowledge of the (personal, cultural, historical, linguistic) context in which the artwork has been created.  In order to recognise the artwork as such, the context must also be recognisable.

As well as Bandeh Giasabadi, three artists are covering this question and are creating new work: the Dutch Sara Blokland (photographer), Katrin Korfmann (photographer/art in public space) and Sammy Chekhes (filmmaker). Alongside this, two theorists will reflect and develop ideas: philosopher Tina Rahimy and writer/artist Nickel van Duijvenbode. The selection of participants is based upon their affinity with the subject in a broad sense so that the question can be looked into from as broad a perspective as possible.

In a series of meetings where, in each case, a participant takes a central role, each participant will present his/her own vision relating to the question. Afterwards the execution of their own contribution will take place, in the form of image and/or text. During this phase the participants can open up their experiences of the process for discussion. Interaction plays an important role. Something must be developed as a result of the process and the reactions. No predetermined ideas. During the works is there already talk of mutual influence?

Side Ways will be presented in various ways:
- a publication in which the process, in terms of both content and design (image), will be central
- with an exhibition in Iran where interaction will take place with the local art circuit using the methods of debates/readings
- through a presentation/exhibition in the Netherlands