For Dominique Gonzalez-Foerster the future is already here, imagined into reality through her films and environments that see previous works through a lens of anticipated, future events.
Return to Noreturn 2 (2014) follows from TH.2058 (2008−2009), her installation at Tate Modern, which imagined its Turbine Hall fifty years hence. Just before that exhibition closed, Gonzalez-Foerster created the film Noreturn (2009), where an excited, unsupervised group of children invade the installation and eventually fall asleep, exhausted, on the beds.
Return to Noreturn was refigured in 2012 for the very different space of Galerie Esther Schipper in Berlin, reusing the green and red plastic curtains, metal bunk beds, paint and text as references for the earlier work’s sculptures, text, audio and video.
For BNLMTL 2104, Return to Noreturn 2 is further revised, quoting from the Berlin iteration for this new context. One by one, the traces accumulate, palimpsests, down the rabbit hole.
Children and their games figure often in the artist’s films, performances and environments, and weather is a harbinger of other mutations, suggested through a science-fiction narrative. We may indeed have reached a point of no return, yet for Gonzalez-Foerster one may always imagine anew.