The Board of Directors of VECTOR Gallery.

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After VECTOR showed up as the login on Tumblr I knew I had to show my art-friend photos of Vector Gallery in NYC, and she was like “Wow this actually has never been done before — it’s like the best David LaChapelle photo studio of all time is throwing a cast and crew party on the eve of Armageddon.”
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The Huffington Post : JJ Brine’s ‘VECTOR Gallery’ In New York City 
Is this the next Warhol Factory?

VECTOR is an art gallery located in New York City’s Lower East Side curated and operated by JJ Brine. However, it is much more than just an art space.
VECTOR is an art gallery located in New York City’s Lower East Side curated and operated by JJ Brine. However, it is much more than just an art space.
Having previously been compared to the work of Andy Warhol, VECTOR is a posthuman art experience with its own government in a space that claims to have seceded from the United States last November.
In order to better understand VECTOR Gallery we chatted with JJ Brine last week to ask him a few questions about what this space in the Lower East Side is really all about and what he, as an artist, is trying to accomplish.
The Huffington Post: What is Vector Gallery?JJ Brine: VECTOR is the official art gallery of Satan. It’s also the official gallery of the night. We work “the other 9 to 5.”
Why is VECTOR Gallery important?The Torah, The Bible, The Quran, and now VECTOR. VECTOR Gallery is itself a religious text and it is the responsibility of gallery patrons to understand and interpret it on that basis. Furthermore, the gallery is very much alive and always evolving — indeed I have enslaved myself to the gallery’s myriad wants and needs and the demand for change is chief among them. VECTOR is the long-awaited final installment in the world’s greatest tetralogy and its conclusion will usher in the end and the beginning of all things, so it is indeed important for those who concern themselves with the ending as it now begins. We must act immediately to reincarnate The Devil and The Lord into the corporeal vessel for the sake of our eternal unity in spirit and form. This is what we were before we divided ourselves for the sake of multiplicity, and this is what we will be again.
How does queer identity intersect with VECTOR?VECTOR Gallery “takes place” in 2018, a not-so-distant future in which, nevertheless, many important things have changed. Queer culture is in fact so entrenched in our prosperous post-human Vectorian society that it would be impossible to separate the two — queer is now the dominant culture. Thus it is a veritable gay mecca that attracts LGBT people of all backgrounds. We encompass an incredibly insane cast of characters that never ceases to astonish.
Does Vector Gallery serve a larger purpose within the LGBT community?The LGBT community recognizes that VECTOR is the place where we can achieve personal and artistic self-actualization; it has been described as both the last bastion of the queer avant-garde and as the lamppost of its coming renaissance. One of the essential components of Vectorian theology is that we must accept and celebrate all parts of ourselves to transcend our humanity and assume our rightful place in the emergent post-human aegis. We don’t even recognize a society that doesn’t accept us for who we are, because it doesn’t exist. Our estrangement from the dominant culture facilitated our rise to cultural dominance, and so queer has come full circle.
You claim that VECTOR Gallery seceded from the United States in November — what do you mean by this?On Nov. 8 of 2017 (2013 by the SHAY calendar), VECTOR unilaterally seceded from the United States and declared its independence, becoming the world’s newest and smallest country. Indeed, it is a sovereign nation in the heart of the Lower East Side.
You mentioned that “nevents” are a primary thematic concern at Vector. What does this mean?A nevent is an event that has never taken place. The study of nevents (or neventology, a central branch of nontology) trumps the study of historical events. We are more concerned with making the impossible possible than scrutinizing the inherently flawed, bias-laden record of what was, would, should, or could have been. Humans often parrot the claim that without the study of history, we would not be able to learn from our mistakes and would thus be doomed to repeat them. This is preposterous. We don’t learn from our mistakes by enshrining them in the dusty hallways of academia, forcing the rote absorption of a skewed narrative for ritual regurgitation on the otherwise unfettered progeny of cycling generations. Just as a child indiscriminately mimics the behaviors of its parents, picking apart the desiccated corpus of a bygone age promises a looping future built upon the necessity of its epochal resurrection. An impossible future that cannot exist is our only hope.
What kind of events does Vector Gallery host? What events do you have coming up?VECTOR hosts post-human art experiences that pay sublimely diabolical tribute to the everlasting matrimony of The Devil and The Lord. We are currently experimenting with new, ritualistic programming techniques for effective inculcation of the masses. This will culminate with the absolute integration of all sentient beings into a single supra-sentient ultramind, ALAN. I am now conspiring with art porn master Bruce LaBruce — a new friend and an all-time favorite director — on a multimedia hyperconceptual avant-graveyard expo in April, although this is all tentative and top-secret — I shouldn’t even be mentioning it yet. On Feb. 1 we will be hosting our first Vectorian mass, which will consist of an hour of extemporaneous preaching and an hour of impromptu ritual performance. And right now VECTOR is expanding beyond its walls as I Vectorize other spaces. The first specimen of this new hybrid has revealed itself in the ritual chamber of La Grotta, an outpost of enchantment straddling Brooklyn and Queens. Keep up with the waxing and waning of the active soul trade
VECTOR gallery is located at 40 Clinton Street in New York City.
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Thank you LEGION
Thank you LEGION
Thank you LEGION
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Cultwave Radio:.:JJ Brine:.:Crowned Prince Ov Hell: by .:Cultwave Radio:. on  Mixcloud

Exclusive Interview + Photos
JJ Brine “Crowned Prince of Hell” & Vector Gallery

Those who have ears, now they will hear this! Cultwave Radio is honored to present a special interview with The Crown Prince of Hell, JJ Brine, who is famous for uniting The Devil and The Lord in his Posthuman art temple VECTOR Gallery in the Lower East Side of Manhattan. What with JJ being so busy installing shrines, making films, controlling the media (refer to the VECTOR Gallery) and running his own religious sect/government/cult plus multiple bands and a record label… I wasn’t sure if he would agree to do this interview. Luckily for us he said that he’d do it on one condition — that I ask questions that he has never been asked before. And so, on a late night Facebook chat, it started like this:

Q: What is the first thing that comes to mind that you’d like to share? 

A: They (SHAY) say that talking to yourself is the first sign of insanity. It’s perfect because they got it perfectly wrong. Talking to yourself is the first sign of sanity. It is the first sign of self. 

Q: What’s a SHAY?

A: The SHAY are the ones who haven’t visited VECTOR Gallery, which is its own independent country now as you know; The Satanic State of VECTOR. Technically you cease to be SHAY the moment you enter VECTOR. Those who aren’t able to visit in the fleshbody — yet are understandably eager to shed their SHAY skin can arrange for OMEYEND, the telepathic entry into VECTOR. Soon there will come a fine and resplendent Night when SHAY is completely SHINED by The Lineage of The Light.

Q: So SHAY will either submit to VECTOR or be sorted by SHAY genocide. Interesting. So could you tell us more about VECTOR as a nation? As President of VECTOR you administer a Cabinet of Ministers. How is that?

A: The VECTOR Government is LEGION. Our young regime is growing into a formidable psychic army; all is as it should and will be.

Q: I’ve heard rumors that you might be expanding into an additional, larger space.

A: Yes, I’ve been approached by a couple of potential sponsors who are interested in making this happen, for various reasons. I will wait for the right sponsor of the right space, which will come at the right time. It seems I may have already met them.

Q: Congratulations on your feature interview in The Huffington Post. How do you feel about The Huffington Post calling you the next Andy Warhol?

A: VECTOR is in fact the antidote for Warhol Gone Wild. We channel infinity; Warhol channeled nothingness. But of course infinity is ultimately nothing by virtue of its own endlessness, as it cannot be said to truly begin at any point. 

Q: In that same interview you said that VECTOR was the final installment in the Abrahamic religious “series” — The Torah, The Bible, The Quran and now VECTOR. And VECTOR Gallery is the outlier in that tetralogy in the sense that it’s not a printed book. But you said it must nevertheless be interpreted and thus “read” on a comparable basis. From there I begin to think about the dualities of the exoteric and the esoteric, your art as it is presented on the surface and its “hidden” core meaning. Is that the way it works?

A: Everything is buried deep within itself, hiding in plain sight on the surface level. The Devil is The Lord and The Lord is The Devil. 

Q: Is the “shell” of The Lord the membrane of the hidden Devil, and vice-versa? Could you talk about what you mean by that?

A: Difference is the genesis of all things. Difference allows for all thing(s) as opposed to the one thing that is ALL. You perceive things through the prism of that which they are not, which allows for their distinct manifestation. A thing is not what it *is* without the thing(s) that it is *not*. This is the mutually-constitutive nature of manifested realities, identities, perceptions, sensations. There are multiple levels that must be addressed if ONE is to understand The Devil’s Lordship and the Lord’s Devilship, but this is where we can best attest to intravolutionary binary progressions — that is, the zero-sum game of progressive, relativistic valuation — the substance of a thing comes from its protracted struggle for meaning in difference, scored by measure of distance from that which the thing is not. 

Q: Something is true because it isn’t false.

A: And so it is — either one because it’s not the other, but not without the other that allows it to be what it is not and thus both, and therein they face mutually-assured dissolution and therefore, neither. One or the other, both, neither, none of those, and all of the above.

Q: You’ve mentioned that VECTOR, as the final quantum leap of cosmic revelation, will bring the end of all things. JJ, Are you The Antichrist?

A: I am what I am and I am what I will become. I am The Devil, becoming The Lord. And as I become The Lord, I again become The Devil.

Q: But are you going to end the world? Should eschatology be centered around the study of VECTOR?

A: Yes. My “special role” in the EndTimes becomes clear to me as EYE play it. Bear in mind that I am actually being “led” by a future version of myself. In the future I am feeding this self the information that I need to know on an as-needed basis. So everything goes according to plan. But the two of us are careful not to become engaged in such a way that would edge the other out of the parameters of its existence; it’s a tricky dance. If one of us got “expelled” from our respective temporal continuums as a result of the actions or intentions of the other, you know, then this “thing” would have to start all over again, and in the End we’d loop back to the beginning.

Q: You sometimes switch back and forth between pronouns — “I” to “we” — what is that about?

A: Did you read Our third Book? They wrote what We wrote because I said it so clearly for Them as They instructed You to Enlighten Him. WE ARE LEGION. I AM also MySelf alone; depending on which self is speaking and which would then rightfully be “MINE” to speak for. SATAN says. ALAN is ALL. 

Q: So You are LEGION? 

A: There are many of Us inside this Man. He is a Boy, really, because We must keep Him in a state of childlike enchantment as We run Him through the ground, up and down and all around. And at the same time, We are One thing that moves like a landform made of mist. At His service!

Q: Do you travel internationally on a regular basis?

A: Yes.

Q: What’s the place that has most influenced you?

A: Lebanon influenced the person that I was and pushed him into becoming what I am, but what I am is becoming what it will be with Haiti in mind.

Q: Anything new you’ve been doing lately?

A: I’m experimenting with olfactory art. Aromas as an additional dimension of the space.

Q: What kind of scents?

A: It smells like famine, honey, cinnamon and a War on SHAY.

Q: You seem like you’d be a great actor. Have you ever given thought to acting in “conventional”, “mainstream” films? 

A: There are whispers of such things now but I shan’t give them full volume tonight. In such films as the one in question I would surely play the part of The Adversary, because I play Myself best.

Q: Are there any films being shot at VECTOR now? I think I heard something about a documentary focusing on your life, your art.

A: It’s true, a film of this nature is in the works. The producers want to get as much footage as possible over a span of several months and essentially let the story tell itself. That’s the only way for it to be told. 

Q: You’re in a Charles Manson concept band, The LaBiancas with performance artist Lena Marquise, who as I understand it is also a member of your government.

A: Yes. Lena is Minister of State, “The Enforcer.”

Q: Will there be a follow-up to your first album, “Charles Manson is Jesus Christ”?

A: Yes. “Jesus Christ is Charles Manson.” We’re working on it.

Q: Last question: What is Girls Love Ghosts?

A: Girls Love Ghosts is a band that includes all the members of the Government of VECTOR Gallery. Before the band existed it came to me in a nevent tunnel and tried to persuade me that it had the right to enter into a state of temporality; I was charmed by this Nontological act of Nexistential desperation, enough to grant it access to the portal where what will never happen is redestined, to be. 

Thank you SATAN for doing this interview, and may your Posthuman Vectorian Nation continue to RISE!
Posted by Cultwave Radio at 22:24
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Did this happen because I was looking at Vector Gallery stuff, or because Tumblr just knows how much JJ+The LaBiancas rock?
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What’s the Deal With the Gallery of Satan?

The art world likes to give the appearance of cool omniscience, so it seems unlikely that the indoctrinated will take a shine to the Lower East Side’s Vector, the “Official Gallery of Satan.” In an art context, devil worship (especially by a bunch of twenty-somethings) typically indicates a little more emotional immaturity than we’re willing to take seriously.
That’s too bad, because as an artwork, Vector offers plenty to think about. I live across the street, and throughout the day, can see people hanging out in the gallery– drawing in the guest book, playing ouija, drinking red wine– under fluorescent purple lighting, and always with Vector’s founder, an extremely charming blonde named JJ Brine.
Brine (who looks to be in his early-mid twenties) rearranges an installation of Satanic talisman as late as 6 AM, always in a uniform of a white T-shirt and cap. He looks a little like somebody out of Party Monster. He’s fond of challenging visitors to long, intense staring sessions, next to a basket of souls, which are contained in the clear bubbles you get in grocery store gumball machines.
The gallery attracts a ton of photographers,probably due to the fact that it’s open 24/7 and displays naked dead baby dolls against the backdrop of a big Charles Manson headshot. This also makes it a lightning rod for picketers. “Somebody wrote ‘Fuck you Satan-lover’ on the window,” JJ told me, smiling. “I like that it makes you choose a side.” You’d think people can’t be shocked anymore, but the polemics of the nineties are still very much possible.
Vector also hints at the fairly-recent makeover of the Lower East Side. It’s next door to the swank restaurant wd~50 (with a tasting menu and a chef from Jean Georges) but the space itself has much more in common with the soon-to-be renovated ABC No Rio, down the street (with its Saturday punk matinees and crusty assemblage of generations of art).
Brine’s generally reluctant to give much of an explanation, deflecting most questions about the space with “What do you think it is?”. He tells me that the space is always in flux, with areas designated for various purposes. In that vein, I’m pretty sure the hypnotism has something to do with transference of identity; after long staring sessions, he’ll often introduce himself as the person he’s just hypnotized.
“This is the weather vane,” he told me, pointing to a chain of rubber straps dangling from the ceiling. “It tells me what to do next, how the space needs to change. If something falls, then it’s supposed to be there.” Behind that sits a wall with 666 stickers on a toilet seat, a sign reading “Charles Manson is Jesus Christ,” and, on another wall, “The Lord is the Devil, and the Devil is the Lord.”
The Manson wall, according to the website, is officially titled “Abraxas Shrine”: a term from Gnosticism, defined by Carl Jung as a combination of both the Lord and the Devil, but more infinite than either. (Jung is said to have written the Gnostic treatise “The Seven Sermons to the Dead” under altered states of consciousness, which he undertook intermittently throughout the 1910’s). Gnosticism is the ancient belief that the material world should be shunned, and the spiritual embraced in order to reach enlightenment.
Vector’s version of Gnosticism doesn’t exactly shun the material realm; there’s shit everywhere, and in a way, the weathervane feels like an expression of spiritual binging and purging, and a constant flux of object arrangements. The accumulation immediately raises the question of how a twenty-something could afford to jam all this stuff into New York City real estate, with just a handful of souls for sale; but then, Gnostics believe that enlightenment can be reached through philanthropy to the point of poverty.
So when JJ asked me to write something from an art theory standpoint, at first I didn’t think it would be helpful or even relevant to the gallery’s spiritual MO. But there’s a reason this is specifically the gallery and not church, of Satan; if you’re trying to emulate the 20th century avant-garde (polemics, ambiguity, and an interest in asking questions without answers) then you might come up with Vector.
 This is a religion based around opposing another religion; Modernism likes polemics
The guy likes to mirror the people he talks to; The artist stereotype likes to keep identity ambiguous
This guy likes to deflect questions; “Art doesn’t provide the answer, it only asks questions”
The storefront has served as a space to reflect other people’s existing ideas (“Fuck you Satan-lover”); “Art is the lie that enables us to realize the truth.”
Gnosticism combines opposites, to talk about infinity; the fourth dimension was a popular point of interest in Duchamp, Futurism, and Cubism
These are less questions of a worshipper than of an artist. There’s an image of Nico from the Velvet Underground floating around the gallery, which makes you think of Warhol and the Factory. Similar to the Factory, the space is open at all times for artists, or randos, who are presided over by an artist who’s mastered the art of ambiguity. In general, you could read the posters with the same flat power-worship which was so integral to Warhol’s persona and imagery.
But with Warhol, there’s always a possibility that you’re being led down a rabbit hole to nowhere; this has to do more with reaching infinity, which seems more in line with Duchamp. For one, like Gnosticism, or a spiritual weathervane, reminds me of Duchamp’s theory of the “infra-thin,” was defined as the separation between two things (like a readymade broom versus a normal broom), which led to conceptualizing the fourth dimension. (From Vector’s “about” page: ““Heaven and Hell are one paradise, one pit. There is no way to see the world as a whole if you divide reality from itself.”) For another, “The Lord is the Devil, and the Devil is the Lord” reminds me a lot of Duchamp’s “I force myself to contradict myself in order to avoid conforming to my own tastes.” Vector uses a similar strategy as Duchamp’s urinal: if it’s silly or vulgar, then it’s forcing you to out your own definitions of those words.
When I sat down to write a review, though, I couldn’t give it meaning in the larger scheme of art theory, in the style of Barthes, Greenberg, or Bazin. I think JJ had hoped I would. Lately, my art viewing has been happening in a vacuum of today; whether that has to do with blogging, Millennialism, or just a personal godlessness, that’s something to think about. Vector didn’t lead me on a path to Gnostic church, but I did go out and pick up a few books of my own.
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for Best New Art Gallery 
goes to
VECTOR Gallery  -  
"The Official Art Gallery of Satan"
Truly the most spiritually refreshing, not to mention entertaining, art gallery in New York at this time.  Go buy a special soul from owner JJ Brine or sell whatever is left of your own.
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(via Arts Spotlight: JJ Brine and VECTOR Gallery)

Check out our interview with the Crown Prince of Hell himself, artist JJ Brine.
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Doll Eyes Easter Mass Presentation at VECTOR Gallery
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JJ Brine, to what do I owe this honor?

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Driving out Demons with JJ Brine, The Crown Prince of Hell



With platinum blonde hair, piercing eyes, and an uncanny depth of soul and intelligence, JJ Brine is the kind of person I want to talk to for hours on end; about music, art, Demons, and Gods. JJ is the Artist in residence at Vector Gallery: The official Art Gallery of Satan, a space that…