The Time/•\Date At My PostHuman Mass Grave «Somewhere In Northern Florida» Has Never Been Verifiably Measured Or Assigned /•\ Because It Is My Autonomous Zone Of Atemporality /•\ It Is Currently Not Recognizing The Sovereignty Of @satanicstateofvector Or Any International Actor /•\ At The Special And Imperial Request Of The Satanic State Of VECTOR /•\ Hey B.A.B.Y. (at Vector Gallery)
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 atvectorgallerynyc.com.
VECTOR gallery is located at 40 Clinton Street in New York City.
JJ Brine, founder of the Lower East Side’s only Satanic art gallery, is not your typical interview subject. Straightforward questions simply do not work on the curator and artist-in-residence of “the Official Art Gallery of SATAN.” There were several times during our talk when Brine stared back at me — amidst imagery of Charles Manson and Baphomet the Sabbatic Goat — as if to say, “What the hell are you talking about?”
“Where are you from originally?”
“Well, that I don’t remember,” JJ responded.
In fact, the word “typical” cannot be applied to JJ in any sense of the word. For one, he’s not a typical artiste. He denies his own agency, to a degree, in whatever is taking place at Vector. “Satan is in complete control of it,” he explained. A shiny placard bearing the letter C fell to the floor. “See, these things are not being restrained, they rearrange themselves,” JJ pointed out. “It’s like suggestions. I appreciate it. It’s a form of communication that is quite fulfilling.”
This is all despite the fact the gallery is filled entirely with his own work at the moment. And JJ describes the space as intrinsically connected to his mind: “I’ve put my brain on display, or my brain has put itself on display.”
If you haven’t already guessed that something’s up, JJ is a Satanist, or more accurately, a Vectorian. “Well, I’m kind of leading myself from another time, so I’m kind of like a puppet,” he explained. “I’m responding as I’m being triggered, and I’m responding as I’m receiving my lines.”
But JJ isn’t your cookie-cutter Satanist. For one, he does not prescribe to the tenants of the Satanic Temple, an organization that is mainly defined by its atheism and adeptness at trollingreligious fanatics. “This is its own faith, and it certainly doesn’t enshrine atheism,” JJ said. “I believe in all things. The devil is the lord and the lord is the devil. So I don’t know what people mean when they talk about a difference between something that’s literal or real, but certainly I would not say that this or that thing is not real.”
In fact, Brine, who also answers to President of the Satanic State of Vector, says he is the founder of Vectorism, a new religion. “But you could also say that I’m an instrument of the devil,” he clarified.
JJ invited me to have a look around his gallery in anticipation of next week’s official opening night of Vector Gallery (2.0). Vector has relocated to a space on East Broadway in the Lower East Side after having its lease swept out from under it at its Clinton Street location.
On Wednesday evening I walked into the storefront. I looked around and JJ was nowhere to be found. The lights were on, though a big dim. At first I was a little disoriented, as red, blue, and fluorescent lights flickered around the rectangular front room, bouncing off the reflective foil-covered walls, the mirrors, and the cacophony of objects covered in silver spray paint. The place seemed enormous as first.
“Hello?” I made my way to the back room. The door was partially ajar. I looked in and called out for JJ. No answer. I was about to creep in further when I spun around to find JJ coming through the front door. He wore a black t-shirt with geometrical designs, black pants and platform shoes, his hair was a powdery bluish-green, adorned with a crown made of delicate branches spotted with blossoms.
The front section of Vector is flanked with portraits of Charles Manson, his forehead swastika swapped out for the vector symbol (JJ has dubbed him the “Supreme Leader” of the sovereign state of Vector), fake flowers and grass patches, and one notable portrait of a four-headed hellhoundish Condoleezza Rice– “embodying the intelligence that animates all life,” JJ explained.
In many ways, Vector is not simply a gallery. JJ and the 15 or so other “ministers” he says are involved in the effort understand it as a “sovereign nation,” complete with its own time zone, its own culture, mythology, symbology, religion, placement on the evolutionary spectrum (post-human), and even its own enemies. Back in 2013, when Vector was first founded, it declared it was seceding from the United States to wage a “psychic war” against the nation, and announced it was advancing to the year 2020 (it is now the year 2021).
JJ said that weapons and violence are not tools in waging this war, rather it’s more about ideas. “If in terms of what you’re killing is an established thought with a new thought, then how does one fight an ideology with guns?” he wondered aloud.
Suddenly I realized just how easily I’d adjusted to speaking with JJ on his own terms. I had stopped even asking “normal” questions. But I had grown severely curious, how does JJ communicate with others? How does he move through this city?
“Do you, as a sovereign state, find it productive to engage with the outside world? Do you still have relations?”
“Diplomatic ones,” he replied.
I wondered if JJ had ever experienced any opposition from the outside world, maybe even harassment. After all, Vector is “always open,” JJ said. Plenty of visitors have stopped by uninvited, unannounced. “People are drawn here.”
Generally, JJ said, hate was not a popular reaction. However there is one exception. JJ told me a story of how “an entire congregation” had gathered outside once with signs that said “We Love Jesus, We Hate this Gallery.” Though unfortunately the details are hazy.
Vector Gallery photographs well, but speaking with JJ is essential to the full experience. The setting only acquires complexity when the master is present. For instance, that door to the backroom seemed totally inconsequential until he explained it.
“You can create as many versions of yourself as you need, it can be manufactured,” JJ told me. This might sound familiar, and in a way JJ does ascribe to some aspects of that Warholian, seamless-fusion-between-art-and-life shtick, but there’s something a bit different going on here. JJ didn’t like to talk about himself, at least in the first-person singular sense of the word, unless pushed to do so. But if visitors allow themselves to be immersed in the Vector Gallery (i.e. the Vectorian) experience (as what seems to be the point of an outsider stopping by such a place anyway) and concede to JJ’s claims that he is nothing more than a conduit of the devil, then JJ himself matters little.
“Specificity is such a vice,” JJ explained. “It’s when you lose focus, really, when you zoom in. Unless you zoom in so far that you can’t see any of the details because the details are the big picture.”
To JJ, there isn’t even a graspable expanse of time that existed before Vector Gallery:
“What was happening before the gallery existed?” I asked.
“It’s the Anti-Christ, and the Anti-Christ is Jesus Christ. I don’t even know, I’m not even sure this is the same entity. It would be like remarking on someone else’s life. I was doing whatever I was doing, I’m pretty sure it must have led me to this place. I must have been collaborating with myself in various dimensions. Everything aspires to breathe, so maybe I gave it a respirator.”
Vector will open its doors for its innaugural event on Friday, August 1. JJ promises there will be music and rituals. “It’s always quite chaotic, and sublime, and diabolical,” he said. Though JJ says most of his time will be spent in the back room: “And as you can see, the cost of entering [it] is your soul. Anyone who goes back there has forfeited their immortal soul forever.”
In an undetermined location that does not exist. This impossible project is just beginning, is ongoing, began long ago and is now ending, will take place in some unspecified future moment, is not really happening, and has always existed and always will.
**Located Somewhere In Or Around North Florida -+- Want To See For Yourself /?\ This Can Be Arranged**
Bioscience and medical technology are propelling us beyond the old human limits. Are Extremes and The Posthuman good guides to this frontier?
HOW would you like to be a posthuman? You know, a person who has gone beyond the “maximum attainable capacities by any current human being without recourse to new technological means”, as philosopher Nick Bostrum of the Future of Humanity Institute at the University of Oxford so carefully described it in a recent paper.
In other words, a superbeing by today’s standards. If this sounds like hyperbole, bear with me. Behind the jargon lies a fascinating, troubling idea. We’re not just talking about someone like Olympic runner Oscar Pistorius, who is augmented with technology to compensate for his disabilities and thus can outrun many able-bodied Olympians.
No, we mean people who, through genetic manipulation, the use of stem cells, or other biointervention, have had their ability to remain healthy and active extended beyond what we would consider normal. Their cognitive powers (memory, deductive thought and other intellectual capabilities, as well as their artistic and creative powers) would far outstrip our own.
Is it possible to imagine such humans without recourse to science fiction clichés? And if we can, how would they affect how we see ourselves – and each other? Would they change how we treat each other? Or create a society you would actually want to live in?
If this seems a stretch, consider this: preimplantation genetic diagnosis already lets us screen out some genetic abnormalities in our IVF offspring. And as evidence mounts for genetic components to the physical and cognitive traits we consider desirable, “designer” babies are surely plausible.
Then again, imagine if you were alive 150 years ago, and someone described life as it is today. Life expectancy then was a mere 40 years on average, with a few lucky individuals making it to 75 or more, though they would likely have succumbed to the first harsh illness they faced. Today, average life expectancy in rich countries hovers around 80; death and disease have all but disappeared from view, mostly into hospitals and hospices.
Our expectations of our bodies, their functional capacity and their term of service, are profoundly different from those of people living in the mid-19th century and, in the great scheme of things, that is a mere blink of an eye.
Have we reached a natural limit, or is there further to go? In his new book,Extremes, Kevin Fong, anaesthetist, part-time TV presenter and science cheerleader, recounts how maverick doctors exploring the extremes of our physiology have produced some amazing medical advances, giving us powers to suspend, control and augment life in ways that would have looked miraculous to our 19th-century counterparts.
Take one of Fong’s examples, the practice of controlled cooling of core body temperature before certain types of surgery. In heart surgery, it prolongs the time surgeons have to operate before brain damage is irreversible. The patient’s heart is stopped, they are not breathing: to all intents and purposes, they are dead. Yet if reheated in the right way, with appropriate life support, they will awake as if from a deep sleep.
Just a few decades ago, a cold, pulseless, breathless body would be considered dead immediately, let alone after 45 minutes of suspended animation. Yet now we can snatch the patient back from the brink, blurring the line between life and death.
Advances in intensive care medicine, too, have endowed doctors with spectacular powers that effectively allow them to take complete control of the most fundamental parts of a patient’s physiology: their breathing, heart function and the chemical composition of their blood. Fong eloquently outlines the history of such advances, reminding us how experiments by plastic surgeons on second world war burns victims effectively paved the way for the first full-face transplants earlier this century.
He ends by devoting a couple of chapters to his other love, space exploration and the fate of the body out there. Astronauts, for example, lose muscle bulk and bone density in the gravity-free environment, and protecting them against this is no mean feat. Then there’s the even greater problem of protecting the body from cosmic radiation – a role Earth’s natural magnetic field does for us quite nicely.
The book is a heady ride through a cherry-picked crop of impressive discoveries in science and medicine, all of them made when the human body was pushed to what we now think of as its limits. And Fong weaves in his own personal experiences so that in places it feels like a thinly veiled autobiography. He’s had an impressive career so far (he’s only just 42), working for NASA on space medicine, and as medic to a diving expedition. But you do occasionally wonder if some of this was written to impress his mates from university: it can all seem very Boy’s Own.
He does admit, however, that most of the improvements in life expectancy have been due to public health measures rather than high-tech medicine. His claim that the war between bugs and humans is won seems premature, especially in view of the growing disquiet among experts in infectious diseases that epidemics caused by antibiotic-resistant bugs are imminent: in the case of gonorrhoea it may already have begun.
Extremes is entertaining, informative, but intellectually lightweight. While Fong does attempt to draw together some of the threads in his book, instead of deep analysis of these undeniably revolutionary changes, we find trite comments about the human imperative to explore both outer space, and the inner space of our bodies “because we must”.
At the opposite end of the intellectual spectrum is The Posthuman, by philosopher and cultural theorist Rosi Braidotti. She could never be accused of triteness: her charge is one of incomprehensibility, since her language is dense and littered with allusions that make sense only to social science cognoscenti. It can sometimes sap the life out of what should have been a fascinating read.
That said, when clear, Braidotti is bracing. Her central argument is that medical science and biotechnology are fast remaking how we view our bodies, that they are becoming commodities to be traded. This matters greatly because it affects what we think is possible and reasonable to do to a person/body, and therefore has deep consequences for the moral and ethical dimensions of our choices in life. Poor women in India who rent their wombs out to rich families from developed countries are one manifestation; egg and sperm donors another.
Whatever your views on this, these practices can only increase. If you accept that our moral codes reflect to a fair degree the depth of our knowledge of contemporary issues at any one time, then just as our view of homosexuality morphed from repugnance to acceptance in under a century, so the multiple ways in which we can meddle with the body are likely to become the norm in the near future.
But there’s an important proviso: these changes are happening dangerously fast, and will revolutionise all our lives, for good or ill. From Fong’s “extreme bodies” to Braidotti’s “bodies in extremis”, the discussion is too important to be left to academics. To get the right briefing for this new frontier, we need someone with Fong’s communication skills and Braidotti’s intellectual insight and gravitas to write a book to enlighten the rest of us.
This article appeared in print under the headline “What’s death got to do with it?”
The Vector Gallery located on 154 East Broadway, New York is the first Satanic art gallery in the Lower East Side- and the first I’ve ever seen that’s permanent.That link is to their official tumblr, and you can find most of this information there, but only at the cost of feeling like part of your soul has died.In fact, in order to be able to enter the back room of the gallery, you literally have to formally sell your soul to Satan. I shit you not. The artist himself, JJ Brine, has declared it “The Official Art Gallery of Satan” and has stated in interviews that the place is, in and of itself, a living entity. He has claimed that certain things have fallen off walls and rearranged themselves, and that the gallery sends messages to him. The gallery is said to have a very strong, unique energy of its own- an energy I feel simply from even looking at the images of it.JJ has also founded and lead a new religious he calls “Vectorism”. The difference between Vectorism and Satanism are that Vectorism actually recognises Satan as lord and saviour. This is not the ideology that Satanism is founded upon, which is that you’re free to believe and do whatever you want without consequence. You’re your own god. But not with Vectorism, no. With Vectorism, Satan is GOD and is to be respected, feared, and worshipped. They hold religious ceremonies as well. The walls are littered with “post-human art”, a term he claims Satan chose. The entire gallery is littered with art dedicated to Satan, Charles Manson (whom has been named their church’s official religious leader), desecration of classical art, hooved and horned creatures with outreached hands and warm smiles, Baphomet-like figures, and yes- heaps upon heaps of Illuminati-related symbolism. It’s also full to the brim with all sorts of reflective materials, mirrors, silver spray paint, glitter, bright neon lights, etc. This man is leading a movement all of its own, and it’s rapidly gaining in popularity.This man is sick, and he is dangerous.I wish all of this was one great big joke- but unfortunately, it most certainly doesn’t seem to be whatsoever. http://powerofdeception.wordpress.com/2014/08/04/every-single-thing-about-this-place-makes-me-feel-like-being-sick-to-my-fucking-stomach/
This entry was posted in Still Imagery and tagged All Seeing Eye, duality,evil, Illuminati, illuminati symbolism, luciferianism, mass programming, Mind Control, MK Ultra, monarch programming, Occult Elite, satanic, Satanism,Symbolism, vector gallery, vectorism.
An invasive jewellery collection that converts kinetic energy from the body’s involuntary movements into electricity.
How can we as human bodies become a natural resource?
Naomi Kizhner designed the Energy Addicts accessories in response to the world’s impending energy crisis, looking for an existing energy source that is yet to be tapped in to.
"It interested me to imagine what would the world be like once it has experienced a steep decline in energy resources and how we will feed our energy addiction," Kizhner told Dezeen. "There are lots of developments of renewable energy resources, but the human body is a natural resource for energy that is constantly renewed, as long as we are alive."
"I wanted to explore the post-humanistic approach that sees the human body as a resource," she added.
The pieces would be embedded into the surface of the skin to capture the energy of subconscious movements, such as the flow of blood through the veins and blinking, transforming it into a useable energy resource.
A new gallery calling itself “the official art gallery of Satan” is reopening Friday in Chinatown, lodged between a gift shop and the True Buddha Temple Chinatown. Originally on Clinton Street in the Lower East Side, Vector Gallery — which also identifies as a nondenominational church — is run by JJ Brine, who calls himself “The Crown Prince of Hell.” The gallery, however, is far from a space resembling any dark, fiery realm for the damned to suffer eternally; instead, its walls are covered with metallic wrapping paper and moving, neon lights shine from the ceiling so the whole place glistens like a discotheque. Stepping inside feels like walking into the barrel of a kaleidoscope on acid.
The gallery currently features art by Brine that he “produced in a trance state”: multiple Charles Mansons — Brine referred to him as “Charlie” — stare madly from the walls, surrounded by flowers to form a shrine next to a sign that reads “Charles Manson is Jesus Christ.” (Perhaps related, he later mentioned his constant exposure to paint fumes.) Heads and hands of mannequins hang next to silver animal masks and multi-colored prints of the Mona Lisa, Jesus, and Condoleezza Rice. Light boxes illuminate some of the images, and letters on a door on the back wall spell out, “Cost of entry: your soul.”
“That’s where all the souls are,” Brine said. “It’s the repository of souls.”
Every piece is for sale, or one could buy the lot for $888,000. The works are classified as “posthuman art,” which Brine described as art “evolved past being human, or at least it couldn’t be human anymore because of the conditions surrounding it. But it’s really transcending humanity in order to either survive or express themselves — or maybe that’s the same thing, really.”
Brine tends to deliver such cryptic, abstract lines, leaving questions mostly unanswered. I met him as he was hanging up works that had fallen off the walls that afternoon, which he said was “a very strong message from Satan” and “the will of the devil.” Later, he pointed at some words on the wall and declared, “These letters are all rebelling tonight.”
When I asked him to tell me about himself, he responded, “I’ll show you. You’re in my brain. This is it. I don’t remember where I came from, and I don’t remember the age of this vessel. I lobotomized myself so I could not recall those things.”
The gallery itself he described as “a living entity” that “is its own goal. It is for its own sake. It speaks for itself. It’s something that possessed me and kind of forced this reaction out of me. I’m a slave to it.”
Last year, Brine told me, Vector seceded from the US and formed its own government with a cabinet of ministers. It also exists in a separate timezone, in the year 2021. Satan controls the gallery, but it has no link to Satanism, running under a faith Brine calls “Vectorian.” Each minister has his or her own psychic responsibilities, and everyone congregates to have religious services. “It’s the same as the art shows,” Brine said. “You can call it whatever you like. Convening here, doing what we’re doing, it’s a Vectorian experience. It’s a posthuman society.”
During its opening, Vector will pay tribute to the devil through live performances and performance rites (and DJ sets). In the coming months, the gallery will feature a show by Julia, its Minister of Truth, although it’s unclear what exactly will be on display. More notably, Bruce LaBruce will also be screening his film Gerontophilia (2013), although Brine has yet to announce a date.
Despite the gallery’s backstory and eye-catching display, some visitors remained unimpressed.
“I’m not stoked on how well it was executed,” 26-year-old Brooklyn resident Drew van Diest said. “I think it’s a little gimmicky, or it missed the mark. It’s not very cohesive. I feel like I didn’t have a valuable art experience from this. I like the idea of having this pop-up installation thing you can walk through, but there’s one level which is like Jonah Freeman and Justin Lowe, and this is like the lowbrow kind of ‘I don’t know what this is’ level.”
Jimmy Weaver, 27, was skeptical of the entire project.
“To say that there’s an idea behind it seems kind of generous,” he said. “I like these immersive spaces, but it’s a little sloppy.”
Interestingly enough, Satan-related news has been popping up recently: the Satanic Temple plans to plant a crowd-funded sculpture of Baphomet, a goat-headed figure affiliated with Satanism, on the lawn of the Oklahoma state Capitol, next to a monument of the 10 Commandments. A few days ago, the Temple issued a press release seeking religious exemption from “state-mandated ‘informational’ abortion materials. Its argument rests upon the outcome of the recent Burwell v. Hobby Lobby Supreme Court case, ruled in favor of the craft store chain owned by an evangelical Christian family.