{"id":49915,"date":"2026-05-13T10:09:43","date_gmt":"2026-05-13T10:09:43","guid":{"rendered":"https:\/\/bethanien.de\/exhibitions\/every-day-every-week-another-historical-image-floods-our-screens\/"},"modified":"2026-06-03T16:22:26","modified_gmt":"2026-06-03T16:22:26","slug":"every-day-every-week-another-historical-image-floods-our-screens","status":"publish","type":"kb_exhibition","link":"https:\/\/bethanien.de\/en\/exhibitions\/every-day-every-week-another-historical-image-floods-our-screens\/","title":{"rendered":"Every Day, Every Week Another Historical Image Floods Our Screens"},"content":{"rendered":"<div>\n<p>On entering Ezra \u0160imek\u2019s installation<span class=\"apple-converted-space\"> <\/span><em>Every Day, Every Week Another Historical Image Floods Our Screens<\/em><span class=\"apple-converted-space\"> <\/span>, the eye is initially directed towards a mirror, a red curtain and a projection. An 18-minute succession of three video sequences unfolds, accompanied by a varied soundtrack mainly of Ezra \u0160imek speaking. <\/p>\n<\/div>\n<div>\n<p>In the first scene an athletic figure slowly stands up. On closer inspection, and as the soundtrack explains, this is revealed to be the historical Czechoslovakian athlete Zden\u011bk Koubek. There is a clock in the background, and a red curtain moving to the right and left intensifies the impression of a stage setting. <\/p>\n<\/div>\n<div>\n<p>The second sequence shows the opening ceremony of the Olympic Games in Paris in 2024. A pier on the Seine marks the location. All that can be seen are a horse\u2019s head and neck and the silhouette of a female rider \u2013 the portrayal of Joan of Arc in the ceremony. Joan fought in male armor and questioned established power structures, as the soundtrack emphasizes.   <\/p>\n<\/div>\n<div>\n<p>In the third sequence a boxer \u2013 probably the Algerian Imane Khelif, who won the gold medal in Paris \u2013 raises her bandaged arm in victory. Cameras flash in the background. The date 2024 and the Olympic rings can be seen. <\/p>\n<\/div>\n<div>\n<p>The three sequences gradually coalesce into a wider context. The sporting and Olympian motifs aren\u2019t staged and deconstructed in slow motion for their own sake. The soundtrack refers to the historical case of Zden\u011bk Koubek (1913\u20131986), an initially extremely successful Czechoslovakian athlete whose titles were all revoked following gender reassignment. Zden\u011bk Koubek moved between different spheres, later going from the sports arena to the cabaret stage. Imane Khelif was subject to hateful sexist comments after her victory, which was put in doubt as she didn\u2019t conform to stereotypical ideas of femininity.    <\/p>\n<\/div>\n<div>\n<p>The 2024 Olympic Games in Paris exemplify the exclusions and social distortions both inside and outside the sports system. In urban space, this was manifested in the displacement of homeless people from the city center. In sports, unresolved legal conflicts around gender identity stand out along with the still prevailing binary categories, which were institutionally tightened in the light of National Socialist ideology from the 1930s onward \u2013 within our reach historically in the case of Zden\u011bk Koubek and highly topical with Imane Khelif.  <\/p>\n<\/div>\n<div>\n<p>The soundtrack \u2013 also available as a printout in the exhibition \u2013 combines applause, an extract from a historical interview with Zden\u011bk Koubek, singing from a crackling record, personal memories, and passages adapted from the book <i>The Other Olympians<\/i> (2024), by Michael Walters, about Zden\u011bk Koubek and the treatment of trans* and intersexual people in sport, read by Ezra \u0160imek. The various levels of meaning are woven together by a mesmerizing and melancholy form of visual nostalgia. <\/p>\n<\/div>\n<div>\n<p>At the same time the red curtain and the mirror in the exhibition space form a bridge to Ezra \u0160imek\u2019s current research, in which, as the artist explains, musicals and joy are seen as a \u201cpolitical act\u201d, as the seismograph of particular social tension \u2013 \u201cA counter-archive. A place where marginalized histories don\u2019t just survive; they sing.\u201d A dressing room in this context isn\u2019t just a place to put on make-up and change costumes. For Ezra \u0160imek it\u2019s primarily a safe space, a place to retreat to, but also of boundary-pushing and transgression where change is possible and desired. The mirror has a key position here as the self-assurance of transformation in places where identities are taken on and then publicly acclaimed. What is impossible in many social contexts is given its own space here. In the video Ezra \u0160imek formulates it as follows: \u201cImagine being your true self, without having to answer to anybody \u2013 maybe we\u2019ll get there in my lifetime.\u201d Curtains. Applause!      <\/p>\n<\/div>\n<div>\n<p>Text: Valeria Schulte-Fischedick<\/p>\n<\/div>\n","protected":false},"template":"","categories":[],"class_list":["post-49915","kb_exhibition","type-kb_exhibition","status-publish","hentry"],"acf":{"article_image":49912,"article_image_bu_de":"","article_image_bu_en":"","datum_suche":"2026-05-13 00:00:00"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Every Day, Every Week Another Historical Image Floods Our Screens - Bethanien %<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bethanien.de\/en\/exhibitions\/every-day-every-week-another-historical-image-floods-our-screens\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Every Day, Every Week Another Historical Image Floods Our Screens - Bethanien %\" \/>\n<meta property=\"og:description\" content=\"On entering Ezra \u0160imek\u2019s installation Every Day, Every Week Another Historical Image Floods Our Screens , the eye is initially directed towards a mirror, a red curtain and a projection. 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