The Accelerators


The Accelerators is an apophenia in which connections and patterns exist perceptually—pull one thread and five more present themselves: In the same year as the French Revolution, gunflint, barrels of rum, mirrors, brass kettles, and laced hats were offered in exchange for a tract of land known as The Toronto Purchase; Marie Antoinette’s Bol Sein, produced by the Sèvres porcelain factory on the eve of the Storming of the Bastille, is shown for sale as a limited edition reproduction in the December 2014 New York Times Style Magazine; Georges Besse, CEO of Renault, is assassinated by leftist radical group Action directe in 1986, the same year the Mississaugas of the New Credit submit their land claim against The Toronto Purchase; Italian filmmaker Gillo Pontecorvo, after his critical success with The Battle of Algiers, fails to complete his next film on the assassination of Archbishop Òscar Romero, declaring himself “impotent;” after decades of postcolonial fallout, the Algerian Kouachi brothers murder eleven at Charlie Hebdo magazine for racist portrayals of the prophet Muhammad. Drawing on events spread across time and place, The Accelerators presents a deterritorialized axonometric view, an impossible but all-seeing position that examines the network of contemporary social space within a constellation of re-imagined images.