Oslo

View of “Oa4s,” 2016.

View of “Oa4s,” 2016.

Oa4s

1857

View of “Oa4s,” 2016.

As Joyce Carol Oates would have it, “Our lives are Möbius strips, misery and wonder simultaneously.” Yet in a climate of xenophobia, political tension, and violence throughout the European Union, the Amsterdam- and Mexico City–based Oa4s (On All Fours) used this single-planed surface as the prompt for an exhibition heavy on wonder and free of misery. The duo (Michael Ray-Von and Temra Pavlović) positioned the Möbius strip as a literal and figurative motif by which to frame a collection of poetic (if occasionally precious) meditations on atemporality. The exhibition’s weighty title, “The Fencer and the Beekeeper: A Treatise of the Mechanics of Engagement of Two Discrete Objects in Space and the Miracle of Collaboration Outside Time,” introduced the viewer to its protagonists and theme, while the twenty-three-minute looped video work A Spiral Is a Circle Without Hands or Time (all

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