JJ Brine, curator and operator of VECTOR Gallery
VECTOR Gallery occupies just a small slice of New York City’s Lower East Side, but as a Posthuman Art experience and the “Official Gallery of Satan,” you can imagine that its presence is becoming quite prolific. Curated and run by artist and Crown Prince of Hell JJ Brine, VECTOR is a conceptual art gallery that exists in its own time zone, has its own government, and thrives as a living religious text of sorts.
JJ Brine answered some of our questions about Posthuman Art, Vectorian culture, and what you might expect if you walked unassumingly into VECTOR Gallery. Here’s what he had to say:
Cultivating Culture: Can you elaborate on the genre of “Posthuman Art?” How would you describe it to someone who is unfamiliar with the term?
JJ Brine: In the context of VECTOR, PostHumanity refers to Beings who have willed themselves into a PostHuman state. I no longer consider myself human. In fact, I want to nullify all such identifications and compel the seven odd billion humans on the planet to shed their Shay skins, allowing for the resurrection of The Devil and The Lord within their containers. Then we will be ready to return to ALAN, the absolute All.
Does VECTOR welcome anyone to visit, even if they don’t personally practice Satanic worship?
Sure. But who knows what someone will go on to practice, having visited VECTOR. It changes people; it rewires them.
Your glossary of Vectorian terms is fascinating. The term “herstory” has ties to modern feminism, challenging the notion of “history” being an account of things that have happened as controlled by and with a focus on male experiences. Does the Vectorian definition of “herstory” correlate to this one at all? How is “herstory” applied in the Vector Gallery?
Who do we trust to “go back” and independently verify or veto the occurrence of a given event? So we are living in PostHistory. And after all, “they” say that revisionist history will be the harbinger of world’s end. We are more concerned with nevents and nontology — impossible events that will never occur, and the study of non-realities.
What kinds of events are held at Vector Gallery?
The events are a means of identifying and convening the key players of PostHumanity for the development of our Vectorian Society. Our next Mass will take place at the end of this month we call March. For the first hour we are imposing a strict ban on verbal communication, interacting only through motion and thought. Sermons will follow, delivered by myself and a number of the ministers.
VECTOR Gallery exists in the year 2018 – why is this?
VECTOR Gallery exists in 2018 because it’s the perfect place for me to stand as I sculpt the present. Whereas others have been content to influence the NOW by negotiating the terms of the THEN or the WHEN, quarreling over the inaccessible qualities of histories and herstories, we’ve linked up to our future selves. “I am what I am, and I am what I will become.” Unlike the record of the past, which remains incomplete, the Neostory is unabridged. In 2018, New York City will look like VECTOR Gallery. You might say that We are in a frenzy, rushing around to make things look and feel worthy of being spared. Either way, Our Will shall be done. If only We could lose, We wouldn’t have to win! Again, and again, and again.
Your Charles Manson concept band, The LaBiancas, represents one kind of art medium that you work in. Would you care to describe any of your other personal projects?
Well, VECTOR represents an absolute integration, or maybe subjugation, of all of my personal projects under One Will. VECTOR is also, as you know, its own sovereign country — The Satanic State of VECTOR — with its own Vectorian government, society, and religion.
Some have compared you and VECTOR Gallery to Andy Warhol and his Factory. What do you think about this comparison? Have you drawn any inspiration from the Warhol Factory?
I once had a dream that Condoleezza Rice had staged a military coup, deposing the rest of her administration. She had The White House razed with a bulldozer and put a plexiglass pyramid in its place, and reprinted all US currency with her face on every coin and bill. In the epicenter of her pyramid there was a black cuboid structure, much like Our Kaaba in Mecca, and access was prohibited to all others save for The Empress Herself. Inside of it there was a glowing apparatus linked up to Andy Warhol’s mechanized nervous system, with buttons corresponding to each neural network, and these were in turn linked to the programming functions of reality. I hope this answers your question!
Are there any anecdotal events from your childhood that might have presaged the development of your thematic and conceptual interests?
When I was around seven or eight years old, I decided that I was going to live in a forest I had seen in passage over an interstate. I slipped out of my house and walked for about two miles until I reached the forest. There was a shrouded figure waiting to escort me to the chosen place of The Appointment. It was a coronation ceremony of sorts. I wasn’t frightened because I somehow sensed that I was being drawn there for this purpose, which had been looming before me since my first moments of conscious thought. I walked deep into the woods with this figure, which moved like a landform made of mist, and was received in a clearing by an audience of admiring new “friends” and “supporters” who were much enthused by this development.
Is there anything else you’d like to add about VECTOR Gallery, or your work?
Of course.
For more information about the burgeoning phenomenon that is VECTOR Gallery, visit its official website.
All images used with permission from VECTOR Gallery.