Emma Adler’s work revolves around the notion of the “fake,” questioning visual habits and the assumed certainties attached to them. Since 2017, her large-scale multimedia installations have focused on conspiracy theories, exploring layered realities and the construction of subjective truths.

SIMULATOR [SIC!]NESS examines the mechanisms and aesthetics of conspiracy narratives and their circulation online. Situated within a present shaped by pandemic discourse and populism, the project reflects on how media representations are produced, consumed, and believed. The title merges “simulator sickness,” describing nausea caused by sensory irritation, with “[sic],” the editorial mark indicating an intentional error within a quotation. Together, they evoke disorientation through deception and the instability of mediated reality.

The publication begins with the cover as a visual echo of the installation: a glossy neon green surface punctuated by a pill-shaped cut-out, referencing the passage that connects the two exhibition spaces. Inside, the recurring neon green is rendered as a spot colour to preserve its intensity, while a stylised map situates the individual elements of the installation within the book. By translating the work into a precisely structured format, the publication becomes an extension of the project itself, guiding readers through its complex, destabilising logic with clarity and conceptual rigor.