“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 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.


The Smallest Country in The World - The Satanic State of VECTOR 

A small occultic art gallery and non-denominational church in New York City is seceding from the United States on November 8, 2013 and at around 200 square feet it will become the world’s smallest country, displacing The Vatican.  Furthermore, it will be the world’s first Satanic Nation, “The Satanic State of VECTOR.”  JJ Brine, “The Crown Prince of Hell"and occultic installation guru who has quickly become a favorite with the media will be the new country’s sovereign.  Furthermore, there are about a dozen other political appointments listed after him including Lena Marquise (Brine’s bandmate in Charles Manson concept band The LaBiancas), Julia Sinelnikova, Aubrey Loftus, Danielle Draik, Nelson London, Montgomery Harris, Blam Blam Fever, Allesandre Dayvlle, and BJ Dini,   For the full story read the article on

I want my passport


JJ Brine’s posthuman art mecca Vector Gallery has moved from 40 Clinton Street to 154 East Broadway in Chinatown.  Vector 2.0 opens on August 1st and I cannot under any circumstances wait a moment longer to start spending my eternity there.  The Huffington Post interviewed The Crown Prince of Hell back in January. I have read many, many such interviews but this one is still my favorite.


Life & Style Mag

EXCLUSIVE: Amanda Bynes’ New Companion: He Calls Himself “The Prince of Hell”

Amanda Bynes has sadly begun spiraling out of control again – and making matters worse is her new companion.

Life & Style has learned exclusively that the companion who has been spotted with Amanda around NYC is artist JJ Brine, who dubs himself “The Prince of Hell,” plays in a Charles Manson concept band, calls his art gallery “The Official Art Gallery of Satan” and owns a record label named Druglord Records.

According to a source, Amanda’s new friend believes he has a direct connection to Satan. “You have to sell your soul to enter his gallery,” the source tells Life & Style. “He’s ultra creepy.”

“It’s worse than anyone knows,” shares one of Amanda’s former best friends, who requested her name not be used, but hopes Amanda gets help immediately. “Amanda’s in real trouble.”

For the latest on Amanda Bynes including her bizarre behavior and lying to friends about her whereabouts, pick up the new issue of Life & Style, on newsstands now.

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**

What an amazing night. Thank you so much to #VectorGallery and all of our models for helping make all of our fluffy Easter dreams come true! @tessxmoney #derekdewitt @besta_hesta @jordymo @chloemackey @gschiappacasse @zolacarmina @decibel_jezebel #dolleyesny




Know That Ye Who Have Passed Through The Doors Within Our Palace Have Forfeited Your Immortal Souls, For These Are The Gates Of Hell.  AND WE WERE WITH ABRAHAM AND ISAAC, AND WE WERE THE SNAKE(S) – + – AND WE HAVE LONG ARMS AS VISHNU, WE EMBRACE ++ - ++


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.

The mythical University of Satan cap is not so mythical after all.  Get yours at Vector Gallery on 40 Clinton Street in the Lower East Side of Manhattan; it's the only interesting art gallery in New York right now.  It’s also the headquarters of a very dangerous cult and the closest thing you’ll find to Andy Warhol’s Silver Factory.