The use of a soundscape made the experience of Les Immatériaux remarkably immersive. This is what Geraldine Juárez took as a basis while conceiving Les Emulateurs, an online work used to generate versions for its extension on-site based on multiple interviews with artists, theoreticians, and cultural workers, which includes questions that pivot around notions like “model” or “asset.”
In addition to the soundscape of the 1985 exhibition, its site Monneis du temps [Currency of Time], is a further point of reference, in which a certain financial dematerialization process is described as money frees itself from its original source of value. Time is the main preoccupation of capitalism, as well as the dimension where sound waves propagate. Thus, enabling the manipulation of the audio track sequence via the online interface sets in train the generative relation between time and capitalist production that lies at the core of an asset. In the galleries of the ZKM | Karlsruhe, sequences generated from the online interface accompany selected artworks that are on display, thus the piece becomes a true emulator of the sound track, that was put together by Dolores Rogozinski for Les Immatériaux.
Les Emulateurs, being a subtle work of constantly evolving sounds, noises, and voice recordings framed by an online interface, echoes the tenets of the Matter. Non-Matter. Anti-Matter exhibition by taking the sound track and one of the scenes from the past landmark exhibition, Les Immateriaux, as its starting point, and by manifesting itself in a hybrid manner: an online soundscape triggered by cursor movements and prerecorded sound tracks distributed around the exhibition space.
The term “emulator” in computer science refers to a program that creates an extra layer between an existing host, and a target platform which is to be reproduced. An exhibition can also be seen as an emulator, a salvage program for all kinds of worlds, belief systems, and realities that it retranslates into universal codes and interfaces. Models of past exhibitions and their sound tracks allow us to “playback” old exhibitions, even though they cannot bring all the facets and the context of a past event back to life. Yet they can generate genuinely contemporary experiences.
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