Wearing the Walls

Christian Kosmas Mayer & Alix Eynaudi

Venue: Blickle Raum Spiegelgasse 2 (5. Stock), 1010 Wien
Opening hours: Wednesday–Friday, 4–7 pm and by appointment
Vernissage: 10 October 2025
Finissage: 18 October 2025

Friday, October 10, 7 pm — Vernissage

Part photo session, part opening night.

Wearing the Walls opens its series of events at Blickle Raum with a live photo shoot.
A selection of costumes originally designed for dance performances will be available to wear, while photographers capture portraits of those who wish — against the exhibition’s specially designed backdrop.

Guest: An Breugelmans

Wednesday, October 15, 7 pm — Hands On / Hands Off: Body Building

A listening session guided by Eynaudi & Mayer through the building and our bodies at once.

This virtual tour of the Ankerhaus, home of Blickle Raum, unfolds as an ongoing construction site — where matter meets memory, stone meets skin, companionship meets construction.
No physical movement is required: the visit takes place entirely through voices, the memories they carry, and the relational spaces they evoke.

Limited number of participants. Please register via email: blickle-raum-spiegelgasse@aon.at

Saturday, October 18, 7 pm — The Oracle Den

A performative experiment in speculative thinking.

Two oracles respond to audience questions by “reading” answers in the (mis)steps and sounds of a dance.
As a pianist plays the electric piano and a dancer moves, their words transform the accidental, the ordinary, and the unexpected into a shared space for thinking — with dance, with music, and with questions.

Guests: Georg Döcker, Han-Gyeol Lie

About the exhibition

The photo studio that Otto Wagner designed for the top floor of the Ankerhaus in 1895 serves as a point of departure for this performative exhibition. A room of images no longer entered directly, but approached obliquely — from the room next door, across a wall, through memory and imagination.It becomes a neighboring presence, shaping the space beside it. From here, the installation unfolds as a living studio: where the histories of the house meet present acts of staging. Costumes, photo shoots, animated photographs, oracular readings through dance — each gesture attends to the residues that persist in the building, not as ghosts but as overlapping times the Ankerhaus shelters. This is an archeography of adjacency: a way of writing with what remains beside, across, and through — inscribing nearness as method. In this neighboring room, adjacency itself becomes practice. The studio reappears as afterimage, as séance, as a choreography of presences and absences, remnants and anticipations — a place where the house performs itself again, through us, otherwise.