"The Illuminati are operating openly and unhindered in the Lower East Side, and all those who enter its aquarium-fortress are bathed in the alien light of a conspiracy of yet untold proportions…"


The Vanishing Of All Twins And The Man Among Men : Manking, Mankind, And The Masked Men In The Boardroom Of Infinite Minds

"We will walk into the light and emerge in the garments of your ancestral burial grounds : eventually we find ourselves dying penniless on the streets as your embodied orphans : and we will go through this process for pageantry alone. This pageant cannot pretend and so it must enter into the states of being in order to represent them."

Such is a script that is being read like a fortune for all men by the disembodied oracular authority assigned to read the rapidly scrolling LED screen aglow with its extradimensional data indicators of metaphysical markets : this teller of fortunes chosen for the particular purposes of an unknowable albeit assuredly non-Delphic origin, not belonging to any established tradition and lacking a corporeal form and thus at the beating heart of our team. The majority of us were amorphous, some being particularly prideful of not belonging to the “slave bodies of the third dimension” and as such Eye have never seen them. But if Eye did Eye can assure you : Eye would immediately recognize them.

And Eye have heard such prognostications of immortal intent many times : indeed Eye could recite this dirge indemnifying the thirst for blood aloud given a convincing need to demonstrate it to a bloodthirsty crowd. 

 ”But for anyone to speak of any living thing to have descended from another by any blood or lineage” indeed so unpardonable was this offense to all conceivable interests gathered in this board room “We might as well prevent them all from reproducing, sparing us the considerable chagrin of any future generations emerging.” And then the man among all men in this relentlessly congregating board of undetectable directives, this man among men who could speak to me on behalf of all the other masked men, he showed his golden skin when he took off his silver mask and spoke to me for the rest of them in frequencies both purple and orange : 

 ”Lamentably we have already witnessed the births of the first few men who will grow up to demand to live in their human bodies forever, galvanizing the articulations of public demands for this : and these horrific ends will be realized by the exponential scientific advancements of the impending incidents. That unnamed man among men cleared his throat, spun thrice on the wheels of his rolling chair and it was clear to all the masked men in the board room that his skin was silver and his mask was gold, not the other way around, and they took note of this with one gesture in unison by written record. 

This man had yet to grow young but had not quite advanced beyond old age and so he was beginning to look like he had always had this particular and apparent face, which Eye knew good and well was simply not the case. “Oh that’s right.” The man among men clarified as though born again in that very reckoning instant : “This is all a hypothetical exercise : I keep forgetting that before any lamentable developments such as this that everyone will have died in the incredible surprise we have been intending for them.” Eye rolled my eyes as Eye had tired of this, bored with my urgent awareness of its necessity for me to be even living among other embodied lives as any given thing. 

 Eye could not comfortably endure such officiations of endlessly repeated meeting minutes without wondering why this man among men felt the need to spin in his chair in order to switch the colors of his mask and skin : Eye also could not find the ability to speak to any of the other masked men surrounding him, and they only spoke when he spoke to them, and the faces of these other men Eye had never glimpsed. Eye assumed they looked more or less like the man among them. 

 Eye could have said something, needless to say, in the dialect of that language that had been forbidden to my tongue for all eternity as a result of my history of abusing it : Eye had accidentally spoken this language, you see, before it was known or knowable to any living men. And Eye did not know then why or how Eye spoke it when Eye did. And Eye found no suitable means of narrating my life with any of the alternate tongues suggested to me, all of them permitted save for my very own. Eye fancied it my native tongue though it would be blasphemous to speak of any such thing to the spectral bodies of the board.

 Eye do not feel moved as Eye recall this now as it is but a distant memory of what has since diminished in impact. Now Eye have spent so much time not speaking it that Eye have come to see it as a merely maladaptive circumstance of my development into a living being given the precise functionality of my expression as an organism by any real or imagined nomenclature. Nothing was ever a choice for choosing : Eye had certainly chosen to serve what had always been in store for me but there seemed to be no other viable option if Eye were to persist in being. 

 And so Eye stayed silent and prized my solitude, even in the board room as Eye pretended to listen to the prattling and ritualized repetition of inane things that only made sense out of context as a means for snapping into erstwhile incurable attentions : guilty as Eye was told Eye should feel for forgetting all things at the moment of their mentioning they probably knew that at the same time Eye heard their every word, scanning the nuances of their voices nearly unvarying in inflection, intent to detect in these droning voices any allusion to clemency, pardon, or exemption. 

 The proposal of my being replaced by my vanished twin as a potentially actionable policy had been revealed as a scam, a useful device when Eye occasionally denied all of them the exalted schematic access codes to my system of advanced permissions. 

 So Eye sat through these seemingly endless meetings waiting for the man among men to switch his mask and face, knowing that everyone’s previous recollections would prove incorrect yet again : the record would again reflect this, by the synchronized choreography of the demarcating gesture. Everything was always given elaborate guarantee of being duly noted by all present : time and time again Eye evaded all mention of noticing any prearranged conclusion. But Eye knew what Eye had seen, and wondered if these men of the board : they were always levitating in their chairs by the end of these meetings : Eye wondered if they were once like me or if Eye could someday be like them, or the man among men himself : did he himself know that his mask and face switched colors during these meetings as a routine matter given an elaborate display of revision, a transformation seemingly made only by spinning on the wheels of his chair and then appearing somehow to be born again? 

 Not considering wherever 

 They Soon Will Deliver Me Into Another State Of Deployment Out There Among The Men Of The Penitentiaries Eye Was Told To Scorn 

 Eye admit Eye could not help but idolize these heroic men for having committed acts which were said to be against the law, so brave were they who the law held accountable for not being above and beyond it : still they had not flinched at the commission of their crimes. 

 They were the men Eye would have liked to have worked with and in their jails instead of the boardroom, so thick was the aroma of an eternally evolving affliction that grew among them like a robust elixir to cure any man of a healthy state. The books lining the shelves in the boardroom can be seen as potential books or props because none of them contained a single written word, except in the invisible inking of the minutes Eye was taking over and over again.

There, so finally you have heard me speak of my childhood as Eye am equipped to recall it.


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.


JJ Brine Will Let You Into His Back Room, But the Price Is Your Soul

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.

“Before Christ?”


“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.”




Every single thing about this place makes me feel like being sick to my fucking stomach.

Aug4bymau5keteer123  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. This entry was posted in Still Imagery and tagged All Seeing Eyeduality,evilIlluminatiilluminati symbolismluciferianismmass programmingMind ControlMK Ultramonarch programmingOccult ElitesatanicSatanism,Symbolismvector galleryvectorism.

Energy Addicts by Naomi Kizhner

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?

From Dezeen:

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.

Read more at Dezeen
Artist’s website: (video, but text in Hebrew)



Satanist Gallery Brings Charles Manson to Chinatown

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.

Vector Gallery is located at 154 East Broadway, Chinatown, Manhattan.


PostHuman Mass Grave 

Waiting Shrine

By JJ Brine (2019)

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**

..Algaculture suggests a future where humans would be enhanced with algae living inside bodily organs, making humans plant-like by gaining food from the light. The team claims that this semi-photosynthesis, the symbiotic relationship with the algae, is appropriate for the short-term future, whereas in the longer term, the need to find better ways to nourish ourselves will result in new bodily organs. 22