thatladyinred:

jjbrine:

Thank you LEGION
Thank you LEGION
Thank you LEGION

Swaggr

Source: jjbrine

brightlightsinaetheriopolis:

lordvowel:

Woah, two of my favorite artists in one photo.  

John Waters + JJ Brine hosting a panel about the arts in 2012.  

I wonder how they get along

considering John Waters is best friends with Leslie Van Houten (“Lulu”) who has split with Charles Manson and JJ Brine is part of The LaBiancas who support Manson.  

Maybe they don’t even go there :P

/internally screaming

(via vectorgallery)

Source: lordvowel

(via vectorgallery)

Source: jjbrine

acidpriestess:

vectorgallery:

Commandment by JJ Brine

I’m really flattered they follow me. Really great artist, everyone should check ‘em out.

Source: vectorgallery

electronicbeatsonline:

Is JJ Brine’s ‘VECTOR Gallery’ In New York City 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. 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. Read the full interview here, via Huffington Post.

Source: electronicbeatsonline

vectorgallery:

The Hermetic Library
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo
vectorgallery:

The Hermetic Library
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo
vectorgallery:

The Hermetic Library
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo
vectorgallery:

The Hermetic Library
In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.
You may also be interested in checking out The Presidents of Mozambique, The LaBiancas, and some of his videos.
JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.
Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?
JJ Brine: VECTOR is the culmination of all of my personal projects to date.
L: What are some of your previous projects that led to this current gallery and show?
JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.
L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?
JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.
L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?
JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.
L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?
JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.
L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?
JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.
L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?
JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.
L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?
JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”
L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?
JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.
L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?
JJ: I will address this issue at length in 2021.
L: Is that 2021 in VECTOR standard time, or on the common secular year count?
JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.
L: What are some of your other influences, both for your art but also your esoteric and occult interests?
JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.
L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?
JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.
L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.
JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.
L: Any last words for our readers?
JJ: I’ll let them speak for me.
L: Your last words or the readers?
JJ: Both.
ZoomInfo

vectorgallery:

The Hermetic Library

In conversation with JJ Brine about Vector Gallery

You may recognize the name JJ Brine as a contributor to the Hermetic Library audio pool, with the tracks Innovation and Paradise featured on this blog back in 2011.

You may also be interested in checking out The Presidents of MozambiqueThe LaBiancas, and some of his videos.

JJ Brine is also the artist-in-residence at and proprietor of Vector Gallery, 40 Clinton St, NYC, which I’ve also mentioned before. Vector Gallery is billed as the “Official Art Gallery of SATAN”, and is described, in a feature by the New York Professional Outreach Program, as a “new conceptual art destination on the Lower East Side, VECTOR Gallery is the most interesting phenomenon in New York.” I had the opportunity to have a conversation about this project with JJ.

Librarian: First off, thanks for taking the time to talk with me about your current project. Obviously, you’ve participated in the Hermetic Library audio pool in the past, but can you describe how and where your current project fits with your other works?

JJ Brine: VECTOR is the culmination of all of my personal projects to date.

L: What are some of your previous projects that led to this current gallery and show?

JJ: How many times do I have to come back? I put the AELON inside of the Manger, on the Cross, and at the center of the Theater of the past 2,000 years. I arranged for my birth as a means of dying, so that I might rise up and embody life and death for all things, always.

L: So this current project sounds like an invitation for the viewer to be a witness to your personal progress. It also seems to be an ongoing personal performance which is more reciprocal. One of the places for performance art, versus, say, a gallery show on one hand and theatre on the other, is the immediacy and exchange of mutual feedback between artist and audience on a more equalitarian setting. What sort of relationship do you hope to create with the audience here?

JJ: I tempt people to unabashedly be themselves. It is always a pleasure to acquire new souls for my marketplace.

L: It seems to me that in the promotional material and other interviews about this project there seems a heavy degree of performance art taking place, but I assume this is a serious endeavour for you. Can you describe your intent for this space and this project?

JJ: It is a serious endeavor that involves a heavy degree of performance art. Generally speaking — and specificity is the vice least favored by Devil and Lord alike — my intention for the project is to reprogram the mass mind, one thought at a time.

L: When I’ve gandered at some of the other interviews you’ve done, it seems to me that those interviewers are driven to locate you in the realm of surreal Outsider art, such as comparing you to Warhol, for example. But, I wonder about that as a mechanism of apologetics. What I mean is that by locating you on the outside of everyday norms, other interviewers are giving people an easy way to dismiss things about your work and statement that might be uncomfortable or feel dangerous. How do you feel about how you’ve been portrayed? Do those stories about you seem to you to reflect the story you are attempting to tell? How has your work been received by the public?

JJ: I set an example by living my life in the afterlife. Every reaction across the spectrum serves to advance the goals of the Project. I have been portrayed as an agent of this world’s end, naturally, as it finally begins.

L: You’ve taken on the culturally overloaded labels “Satan” and “Satanic” for your project, but I wonder which Satan are you talking about and signifying? For example, is this the adversarial Satan of Judaism, the old-school anthropomorphic embodiment from Catholicism, the abstract and facile label for anything unfamiliar and uncomfortable of modern Evangelical Christianity, the boogyman of the Satanic panics, the Classical Promethean or Luciferian force, the stage satanism of Death Metal … something else? Or is this overloaded term useful here specifically because it is so?

JJ: We have been all of those forms and many more, for our numbers attest to our many names. We cannot lie, and so we have known many truths in many ways. But one breath is all we need to give and take; so together let us breathe.

L: On the Vector Galley page you talk about secession from the political structure of the United States as a new independent nation, and you also talk about a temporal shift while within the space changing the current secular calendar year to 2018. These seem intentionally to mark the space as a liminal environment, a place outside of normal time and space, which is what one might expect from ritual experience. Some of the performative restrictions you’ve suggested for events, such as no verbal communication, echo the self-discipline exercises of Liber E, specifically Dharana, and so forth. Does this project have other ritual practice dimensions as well as presentational and performative aspects? Can you talk about the ceremonial and ritual elements one might experience?

JJ: People naturally look to the space to inform them of their own beliefs, which is one reason why I won’t interpret it for them. They have to come to their own conclusions in order for this to manifest correctly. 2019 is coming any day now.

L: Some of the iconography in your current project seems specifically intended to be triggering for some people, a bit confrontational. For example you include pentagrams, the number 666. keywords such as “legion”, a photograph of Charles Manson, and so forth. These are all clearly laden with cultural baggage, and in that sense are a kind of table of cultural correspondences, that is evoked in the viewer, but what else is going on here? What is the intentionality of using these signs, these symbols? What is the similarity and the parallax between common perception of these and the message you are trying to communicate here?

JJ: Those things which are perceived to be diabolical are an integral part of the divine and vice-versa. There is no need to divide reality from itself. For me, such things are only triggers of serenity and aesthetic comfort. Perhaps that is because I am The Devil. “Needless to say.”

L: Well, there is certainly a long history of around identity and inversion of the nature of diabolical symbolic entities. Do you approach this as something you are commenting on, about which people are already aware, or as something you are revealing for the audience?

JJ: My commentary modifies the extant awareness via revelation. And my Lights are the commentary, and the Frequency is awareness.

L: One of the connections that I noticed right away, but which I don’t recall being mentioned on your site or in other interviews, is that your Vector Gallery logo seems to be a direct visual reference to the Process Church, about which I personally don’t know a whole lot, but that does seem to be an influence on the particular mix of Christ, Satan and Manson imagery in your work, I assume. Could you tell me about that and what that connection is and what it means to you? Are you an adherent, admirer, or something else?

JJ: I will address this issue at length in 2021.

L: Is that 2021 in VECTOR standard time, or on the common secular year count?

JJ: What is to “the” left? What is to “the” right? All but from where I am standing, and I always tell my own time. It’s always right now, always will be and always was, but the numbers change with the nows and so we count the days.

L: What are some of your other influences, both for your art but also your esoteric and occult interests?

JJ: The most powerful magic is intrinsic. If you want to learn a trick, now’s the time to teach yourself. If you want to bind yourself to the dimming powers of charmed obsolescence, nothing does that trick quite like a book of some stranger’s magic spells.

L: As one of the simplest ritual structures might be: 1) leave normal time and space, 2) engage in practical operations within a liminal environment, 3) return to normal time and space changed; what is the change intended for the participant, the public viewer, as they return to the world from within the Gallery?

JJ: Enlightenment as to nature of self, the nature of ALAN, and the relation of self to ALAN.

L: You mention ALAN, which seems like a surrogate for where one might perhaps expect you to use the word “man” as in humanity, but I’m not sure what this term means to you. Could you tell me more about that? When you use uppercase like that for ALAN and VECTOR, are these notariqon, initialisms or acronyms, or simply calling attention to the terms? Some other creative terminology you use is in lowercase, so I’m curious what the difference and significance is for you with these expressions.

JJ: ALAN divided Itself for the sake of multiplicity. Our experience as distinct sentient beings is the experience of Externality from ALAN; we came from ALAN and to ALAN we shall return. It will not be the same as the ALAN that was; when we return to ALAN we contribute the essence of our experience with the Externality. And so ALAN is reconstituted, fragment by fragment.

L: Any last words for our readers?

JJ: I’ll let them speak for me.

L: Your last words or the readers?

JJ: Both.

Source: vectorgallery

celestial-octopus:

I would kill to go here
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celestial-octopus:

I would kill to go here
ZoomInfo
celestial-octopus:

I would kill to go here
ZoomInfo
celestial-octopus:

I would kill to go here
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celestial-octopus:

I would kill to go here
ZoomInfo

celestial-octopus:

I would kill to go here

Source: jjbrine

jondek:

jjbrine:

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**
ZoomInfo
jondek:

jjbrine:

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**
ZoomInfo
jondek:

jjbrine:

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**
ZoomInfo
jondek:

jjbrine:

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**
ZoomInfo
jondek:

jjbrine:

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**
ZoomInfo

jondek:

jjbrine:

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**

(via jjbrine)

Source: jjbrine

vectorgallery:

THE PRINCE OF THE POST HUMAN MOVEMENT JJ BRINE


BY ROBBIE LEE




Mishka family I would like you all to meet  the multimedia installation artist and electronic musician out of the NYC area, JJ Brine. He is pushing the doorways open with his dose of post human art.  In July 2013 JJ opened up an art space VECTOR on the lower east side of NYC and soon afterwards, The Vector Gallery was quickly described as the best new art gallery by Art-awards.com and also called the new Andy’ Warhol’s Factory by The Huffington Post. JJ’s artwork, style, direction and all around creativity is showcased heavy at gallery and as a musician Brine uses his originality and vision to shine bright.  He has described his solo musical projects as ESM (electronic sprit music). JJ also plays part to The LaBiancas, a Charles Manson concept duo band.  In the long run JJ is a artist on the forefront of a new movement,  so recently I to caught up with the artist for a few words, I was honored - and here’s what we discussed:
Robbie: Hello and how are you today?JJ: The feeling is indescribable.
Robbie: Ok, in your own words what should a first time vector gallery visitor expect?JJ: Illumination.
Robbie: What would you say has been your favorite event (or art) showcased at the vector gallery and why?JJ: Independence Night.  It was like the Red Sea, parting
Robbie: Can you tell us your main goal when you opened the doors at vector gallery? And what inspired you?JJ: The goal was the act itself, and I was inspired by doing it.
Robbie: You’ve described vector as having its own time zone. Can you feel us in a little more on that?JJ:  Yes. It’s easier for me to bend 2014 to my will if I’m working in 2019.
Robbie: How did you come up with the concept of ESM for your solo projects and how did the Charles Manson concept band come together? - Are there any musical projects for you in the works?JJ: It came from a sense of being possessed and using vocal transformers to give voice to the spirits that wanted to sing through me. There are so many spirits, and surely there is more for them to sing about.
Robbie: What should we look forward to seeing coming out of the vector gallery?JJ: A big change is coming soon.  But for now that information remains classified, so you’ll have to wait and see.




CATEGORY: 

LIFESTYLE, STYLE, MUSIC





TAGS: 

VECTOR GALLERY, NYC, LABIANCAS, 2019
ZoomInfo
vectorgallery:

THE PRINCE OF THE POST HUMAN MOVEMENT JJ BRINE


BY ROBBIE LEE




Mishka family I would like you all to meet  the multimedia installation artist and electronic musician out of the NYC area, JJ Brine. He is pushing the doorways open with his dose of post human art.  In July 2013 JJ opened up an art space VECTOR on the lower east side of NYC and soon afterwards, The Vector Gallery was quickly described as the best new art gallery by Art-awards.com and also called the new Andy’ Warhol’s Factory by The Huffington Post. JJ’s artwork, style, direction and all around creativity is showcased heavy at gallery and as a musician Brine uses his originality and vision to shine bright.  He has described his solo musical projects as ESM (electronic sprit music). JJ also plays part to The LaBiancas, a Charles Manson concept duo band.  In the long run JJ is a artist on the forefront of a new movement,  so recently I to caught up with the artist for a few words, I was honored - and here’s what we discussed:
Robbie: Hello and how are you today?JJ: The feeling is indescribable.
Robbie: Ok, in your own words what should a first time vector gallery visitor expect?JJ: Illumination.
Robbie: What would you say has been your favorite event (or art) showcased at the vector gallery and why?JJ: Independence Night.  It was like the Red Sea, parting
Robbie: Can you tell us your main goal when you opened the doors at vector gallery? And what inspired you?JJ: The goal was the act itself, and I was inspired by doing it.
Robbie: You’ve described vector as having its own time zone. Can you feel us in a little more on that?JJ:  Yes. It’s easier for me to bend 2014 to my will if I’m working in 2019.
Robbie: How did you come up with the concept of ESM for your solo projects and how did the Charles Manson concept band come together? - Are there any musical projects for you in the works?JJ: It came from a sense of being possessed and using vocal transformers to give voice to the spirits that wanted to sing through me. There are so many spirits, and surely there is more for them to sing about.
Robbie: What should we look forward to seeing coming out of the vector gallery?JJ: A big change is coming soon.  But for now that information remains classified, so you’ll have to wait and see.




CATEGORY: 

LIFESTYLE, STYLE, MUSIC





TAGS: 

VECTOR GALLERY, NYC, LABIANCAS, 2019
ZoomInfo
vectorgallery:

THE PRINCE OF THE POST HUMAN MOVEMENT JJ BRINE


BY ROBBIE LEE




Mishka family I would like you all to meet  the multimedia installation artist and electronic musician out of the NYC area, JJ Brine. He is pushing the doorways open with his dose of post human art.  In July 2013 JJ opened up an art space VECTOR on the lower east side of NYC and soon afterwards, The Vector Gallery was quickly described as the best new art gallery by Art-awards.com and also called the new Andy’ Warhol’s Factory by The Huffington Post. JJ’s artwork, style, direction and all around creativity is showcased heavy at gallery and as a musician Brine uses his originality and vision to shine bright.  He has described his solo musical projects as ESM (electronic sprit music). JJ also plays part to The LaBiancas, a Charles Manson concept duo band.  In the long run JJ is a artist on the forefront of a new movement,  so recently I to caught up with the artist for a few words, I was honored - and here’s what we discussed:
Robbie: Hello and how are you today?JJ: The feeling is indescribable.
Robbie: Ok, in your own words what should a first time vector gallery visitor expect?JJ: Illumination.
Robbie: What would you say has been your favorite event (or art) showcased at the vector gallery and why?JJ: Independence Night.  It was like the Red Sea, parting
Robbie: Can you tell us your main goal when you opened the doors at vector gallery? And what inspired you?JJ: The goal was the act itself, and I was inspired by doing it.
Robbie: You’ve described vector as having its own time zone. Can you feel us in a little more on that?JJ:  Yes. It’s easier for me to bend 2014 to my will if I’m working in 2019.
Robbie: How did you come up with the concept of ESM for your solo projects and how did the Charles Manson concept band come together? - Are there any musical projects for you in the works?JJ: It came from a sense of being possessed and using vocal transformers to give voice to the spirits that wanted to sing through me. There are so many spirits, and surely there is more for them to sing about.
Robbie: What should we look forward to seeing coming out of the vector gallery?JJ: A big change is coming soon.  But for now that information remains classified, so you’ll have to wait and see.




CATEGORY: 

LIFESTYLE, STYLE, MUSIC





TAGS: 

VECTOR GALLERY, NYC, LABIANCAS, 2019
ZoomInfo
vectorgallery:

THE PRINCE OF THE POST HUMAN MOVEMENT JJ BRINE


BY ROBBIE LEE




Mishka family I would like you all to meet  the multimedia installation artist and electronic musician out of the NYC area, JJ Brine. He is pushing the doorways open with his dose of post human art.  In July 2013 JJ opened up an art space VECTOR on the lower east side of NYC and soon afterwards, The Vector Gallery was quickly described as the best new art gallery by Art-awards.com and also called the new Andy’ Warhol’s Factory by The Huffington Post. JJ’s artwork, style, direction and all around creativity is showcased heavy at gallery and as a musician Brine uses his originality and vision to shine bright.  He has described his solo musical projects as ESM (electronic sprit music). JJ also plays part to The LaBiancas, a Charles Manson concept duo band.  In the long run JJ is a artist on the forefront of a new movement,  so recently I to caught up with the artist for a few words, I was honored - and here’s what we discussed:
Robbie: Hello and how are you today?JJ: The feeling is indescribable.
Robbie: Ok, in your own words what should a first time vector gallery visitor expect?JJ: Illumination.
Robbie: What would you say has been your favorite event (or art) showcased at the vector gallery and why?JJ: Independence Night.  It was like the Red Sea, parting
Robbie: Can you tell us your main goal when you opened the doors at vector gallery? And what inspired you?JJ: The goal was the act itself, and I was inspired by doing it.
Robbie: You’ve described vector as having its own time zone. Can you feel us in a little more on that?JJ:  Yes. It’s easier for me to bend 2014 to my will if I’m working in 2019.
Robbie: How did you come up with the concept of ESM for your solo projects and how did the Charles Manson concept band come together? - Are there any musical projects for you in the works?JJ: It came from a sense of being possessed and using vocal transformers to give voice to the spirits that wanted to sing through me. There are so many spirits, and surely there is more for them to sing about.
Robbie: What should we look forward to seeing coming out of the vector gallery?JJ: A big change is coming soon.  But for now that information remains classified, so you’ll have to wait and see.




CATEGORY: 

LIFESTYLE, STYLE, MUSIC





TAGS: 

VECTOR GALLERY, NYC, LABIANCAS, 2019
ZoomInfo
vectorgallery:

THE PRINCE OF THE POST HUMAN MOVEMENT JJ BRINE


BY ROBBIE LEE




Mishka family I would like you all to meet  the multimedia installation artist and electronic musician out of the NYC area, JJ Brine. He is pushing the doorways open with his dose of post human art.  In July 2013 JJ opened up an art space VECTOR on the lower east side of NYC and soon afterwards, The Vector Gallery was quickly described as the best new art gallery by Art-awards.com and also called the new Andy’ Warhol’s Factory by The Huffington Post. JJ’s artwork, style, direction and all around creativity is showcased heavy at gallery and as a musician Brine uses his originality and vision to shine bright.  He has described his solo musical projects as ESM (electronic sprit music). JJ also plays part to The LaBiancas, a Charles Manson concept duo band.  In the long run JJ is a artist on the forefront of a new movement,  so recently I to caught up with the artist for a few words, I was honored - and here’s what we discussed:
Robbie: Hello and how are you today?JJ: The feeling is indescribable.
Robbie: Ok, in your own words what should a first time vector gallery visitor expect?JJ: Illumination.
Robbie: What would you say has been your favorite event (or art) showcased at the vector gallery and why?JJ: Independence Night.  It was like the Red Sea, parting
Robbie: Can you tell us your main goal when you opened the doors at vector gallery? And what inspired you?JJ: The goal was the act itself, and I was inspired by doing it.
Robbie: You’ve described vector as having its own time zone. Can you feel us in a little more on that?JJ:  Yes. It’s easier for me to bend 2014 to my will if I’m working in 2019.
Robbie: How did you come up with the concept of ESM for your solo projects and how did the Charles Manson concept band come together? - Are there any musical projects for you in the works?JJ: It came from a sense of being possessed and using vocal transformers to give voice to the spirits that wanted to sing through me. There are so many spirits, and surely there is more for them to sing about.
Robbie: What should we look forward to seeing coming out of the vector gallery?JJ: A big change is coming soon.  But for now that information remains classified, so you’ll have to wait and see.




CATEGORY: 

LIFESTYLE, STYLE, MUSIC





TAGS: 

VECTOR GALLERY, NYC, LABIANCAS, 2019
ZoomInfo

vectorgallery:

THE PRINCE OF THE POST HUMAN MOVEMENT JJ BRINE

BY ROBBIE LEE

Mishka family I would like you all to meet  the multimedia installation artist and electronic musician out of the NYC area, JJ Brine. He is pushing the doorways open with his dose of post human art.  In July 2013 JJ opened up an art space VECTOR on the lower east side of NYC and soon afterwards, The Vector Gallery was quickly described as the best new art gallery by Art-awards.com and also called the new Andy’ Warhol’s Factory by The Huffington Post. JJ’s artwork, style, direction and all around creativity is showcased heavy at gallery and as a musician Brine uses his originality and vision to shine bright.  He has described his solo musical projects as ESM (electronic sprit music). JJ also plays part to The LaBiancas, a Charles Manson concept duo band.  In the long run JJ is a artist on the forefront of a new movement,  so recently I to caught up with the artist for a few words, I was honored - and here’s what we discussed:

Robbie: Hello and how are you today?
JJ:
 The feeling is indescribable.

Robbie: Ok, in your own words what should a first time vector gallery visitor expect?
JJ: Illumination.

Robbie: What would you say has been your favorite event (or art) showcased at the vector gallery and why?
JJ: Independence Night.  It was like the Red Sea, parting

Robbie: Can you tell us your main goal when you opened the doors at vector gallery? And what inspired you?
JJ: The goal was the act itself, and I was inspired by doing it.

Robbie: You’ve described vector as having its own time zone. Can you feel us in a little more on that?
JJ Yes. It’s easier for me to bend 2014 to my will if I’m working in 2019.

Robbie: How did you come up with the concept of ESM for your solo projects and how did the Charles Manson concept band come together? - Are there any musical projects for you in the works?
JJ: It came from a sense of being possessed and using vocal transformers to give voice to the spirits that wanted to sing through me. There are so many spirits, and surely there is more for them to sing about.

Robbie: What should we look forward to seeing coming out of the vector gallery?
JJ: A big change is coming soon.  But for now that information remains classified, so you’ll have to wait and see.

CATEGORY: 

(via jjbrine)

Source: vectorgallery

vectorgallery:

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.

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.
ZoomInfo
vectorgallery:

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.

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.
ZoomInfo
vectorgallery:

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.

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.
ZoomInfo
vectorgallery:

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.

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.
ZoomInfo
vectorgallery:

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.

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.
ZoomInfo

vectorgallery:

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

Source: vectorgallery

vectorgallery:

Crown Prince of Hell JJ Brine and Crown Prince of Porn Bruce LaBruce celebrate the immortal season of conspiracy with a subtle gesture of absolute omniscience. 

Source: vectorgallery

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