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  • vectorgallery:

    ARE YOU COMING TO THE PARTY?  

    THE CRADLE OF POSTHUMANITY +0+ VECTOR 2.0 OPENS ON AUGUST 1ST AT 8PM

    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 ++ - ++

  • 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. 

    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. 

  • vectorgallery:

    The End of the World Starts in Chinatown

    JJ Brine explains how Vector Gallery is a religion, a country, and a conspiracy.
    By Mark Dommu

    (JJ Brine and Vector Gallery)

    Down on East Broadway in a Satanic art space, JJ Brine is hoping to end the world. The queer artist recently relocated Vector Gallery from the Lower East Side to Chinatown. Filled with vibrant color, “artfully” tilted mirrors, and photos of Charles Manson and Condoleezza Rice, Vector is, “a gallery, it’s a religion, it’s a country, it’s a conspiracy to re-sacrilize society and also to secularize other facets of it,” according to Brine. “It’s kind of like the entire universe that is communicating with itself ad-infinitum and various dimensions, processing itself and reprocessing itself. And it’s kind of an initiative to end the world,” he says, silver-painted face glowing in the light of the neon signs that illuminate the narrow space.
     
    How exactly is an art gallery going to end the world? “You’ll see,” promises Brine, whose website for the gallery explains that it’s actually the year 2019 inside its walls. Vector, he says, will set off a series of events: performances at religious services and University of Satan classes, for example. 
     
    The gallery even has its own religion. “The tenets of it are expressed through it,” says Brine. “With the Bible, the Torah, the Quran, everything was written down, but what we’re doing here is just manifesting and changing things as we need to change them, so things can get possessed and take control of you. So we’re all being guided and we’re tools for this thing that wants to express itself and wants to impose its hypnotic view on the world. That thing is the thing that’s here. It’s the thing that’s writing its own book. I call it Alan, because that’s how it talks to me.”
     
    Brine sees his gallery, which celebrates its grand re-opening on August 1 with performances and DJ sets, as a vehicle to experience the beginning of the world. “It’s its own loop. As things keep mounting, it turns out that the things you would call the singularity or the Big Bang, it’s all the same thing. It’s all looping, in fact, as things get closer to the interface that will connect us all: a mechanized telepathy, Facebook in which we’re logging into each other’s minds. It is looping, so the world is ending and beginning and ending and beginning, the universe is ending and beginning and ending and beginning. So it’s serving that, and it’s time for this cycle to begin and end and begin and end.” 
     
    Vector Opening at Vector Gallery, 154 E Broadway (btwn Rutgers/Pike Sts), August 1 at 8pm; free. Visitvectorgallery.com for more info.
  • vectorgallery:

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

    JJ Brine, founder of the Lower East Side’s only Satanic art gallery, is not your typical interview subject. Straightforward questions simply do not work on the curator and artist-in-residence of “the Official Art Gallery of SATAN.” There were several times during our talk when Brine stared back at me — amidst imagery of Charles Manson and Baphomet the Sabbatic Goat — as if to say, “What the hell are you talking about?”

    “Where are you from originally?”

    “Well, that I don’t remember,” JJ responded.

    In fact, the word “typical” cannot be applied to JJ in any sense of the word. For one, he’s not a typical artiste. He denies his own agency, to a degree, in whatever is taking place at Vector. “Satan is in complete control of it,” he explained. A shiny placard bearing the letter C fell to the floor. “See, these things are not being restrained, they rearrange themselves,” JJ pointed out. “It’s like suggestions. I appreciate it. It’s a form of communication that is quite fulfilling.”

    This is all despite the fact the gallery is filled entirely with his own work at the moment. And JJ describes the space as intrinsically connected to his mind: “I’ve put my brain on display, or my brain has put itself on display.”

    If you haven’t already guessed that something’s up, JJ is a Satanist, or more accurately, a Vectorian. “Well, I’m kind of leading myself from another time, so I’m kind of like a puppet,” he explained. “I’m responding as I’m being triggered, and I’m responding as I’m receiving my lines.”

    But JJ isn’t your cookie-cutter Satanist. For one, he does not prescribe to the tenants of the Satanic Temple, an organization that is mainly defined by its atheism and adeptness at trollingreligious fanatics. “This is its own faith, and it certainly doesn’t enshrine atheism,” JJ said. “I believe in all things. The devil is the lord and the lord is the devil. So I don’t know what people mean when they talk about a difference between something that’s literal or real, but certainly I would not say that this or that thing is not real.”

    In fact, Brine, who also answers to President of the Satanic State of Vector, says he is the founder of Vectorism, a new religion. “But you could also say that I’m an instrument of the devil,” he clarified.

    JJ invited me to have a look around his gallery in anticipation of next week’s official opening night of Vector Gallery (2.0). Vector has relocated to a space on East Broadway in the Lower East Side after having its lease swept out from under it at its Clinton Street location.

    On Wednesday evening I walked into the storefront. I looked around and JJ was nowhere to be found. The lights were on, though a big dim. At first I was a little disoriented, as red, blue, and fluorescent lights flickered around the rectangular front room, bouncing off the reflective foil-covered walls, the mirrors, and the cacophony of objects covered in silver spray paint. The place seemed enormous as first.

    “Hello?” I made my way to the back room. The door was partially ajar. I looked in and called out for JJ. No answer. I was about to creep in further when I spun around to find JJ coming through the front door. He wore a black t-shirt with geometrical designs, black pants and platform shoes, his hair was a powdery bluish-green, adorned with a crown made of delicate branches spotted with blossoms.

    The front section of Vector is flanked with portraits of Charles Manson, his forehead swastika swapped out for the vector symbol (JJ has dubbed him the “Supreme Leader” of the sovereign state of Vector), fake flowers and grass patches, and one notable portrait of a four-headed hellhoundish Condoleezza Rice– “embodying the intelligence that animates all life,” JJ explained.

    In many ways, Vector is not simply a gallery. JJ and the 15 or so other “ministers” he says are involved in the effort understand it as a “sovereign nation,” complete with its own time zone, its own culture, mythology, symbology, religion, placement on the evolutionary spectrum (post-human), and even its own enemies. Back in 2013, when Vector was first founded, it declared it was seceding from the United States to wage a “psychic war” against the nation, and announced it was advancing to the year 2020 (it is now the year 2021).

    JJ said that weapons and violence are not tools in waging this war, rather it’s more about ideas. “If in terms of what you’re killing is an established thought with a new thought, then how does one fight an ideology with guns?” he wondered aloud.

    Suddenly I realized just how easily I’d adjusted to speaking with JJ on his own terms. I had stopped even asking “normal” questions. But I had grown severely curious, how does JJ communicate with others? How does he move through this city?

    “Do you, as a sovereign state, find it productive to engage with the outside world? Do you still have relations?”

    “Diplomatic ones,” he replied.

    I wondered if JJ had ever experienced any opposition from the outside world, maybe even harassment. After all, Vector is “always open,” JJ said. Plenty of visitors have stopped by uninvited, unannounced. “People are drawn here.”

    Generally, JJ said, hate was not a popular reaction. However there is one exception. JJ told me a story of how “an entire congregation” had gathered outside once with signs that said “We Love Jesus, We Hate this Gallery.” Though unfortunately the details are hazy.

    Vector Gallery photographs well, but speaking with JJ is essential to the full experience. The setting only acquires complexity when the master is present. For instance, that door to the backroom seemed totally inconsequential until he explained it.

    “You can create as many versions of yourself as you need, it can be manufactured,” JJ told me. This might sound familiar, and in a way JJ does ascribe to some aspects of that Warholian, seamless-fusion-between-art-and-life shtick, but there’s something a bit different going on here. JJ didn’t like to talk about himself, at least in the first-person singular sense of the word, unless pushed to do so. But if visitors allow themselves to be immersed in the Vector Gallery (i.e. the Vectorian) experience (as what seems to be the point of an outsider stopping by such a place anyway) and concede to JJ’s claims that he is nothing more than a conduit of the devil, then JJ himself matters little.

    “Specificity is such a vice,” JJ explained. “It’s when you lose focus, really, when you zoom in. Unless you zoom in so far that you can’t see any of the details because the details are the big picture.”

    To JJ, there isn’t even a graspable expanse of time that existed before Vector Gallery:

    “What was happening before the gallery existed?” I asked.

    “Before Christ?”

    “Well…”

    “It’s the Anti-Christ, and the Anti-Christ is Jesus Christ. I don’t even know, I’m not even sure this is the same entity. It would be like remarking on someone else’s life. I was doing whatever I was doing, I’m pretty sure it must have led me to this place. I must have been collaborating with myself in various dimensions. Everything aspires to breathe, so maybe I gave it a respirator.”

    Vector will open its doors for its innaugural event on Friday, August 1. JJ promises there will be music and rituals. “It’s always quite chaotic, and sublime, and diabolical,” he said. Though JJ says most of his time will be spent in the back room: “And as you can see, the cost of entering [it] is your soul. Anyone who goes back there has forfeited their immortal soul forever.”

    http://bedfordandbowery.com/2014/07/jj-brine-will-let-you-into-his-back-room-but-the-price-is-your-soul/#

    JULY 25, 2014

  • vectorgallery:

    Crown Prince of Hell JJ Brine and The Oracle Julia Sinelnikova at VECTOR Gallery 2.0, opening August 1st — FB Event Page

    Shot by Minister of Death Nome

  • vectorgallery:

Http://www.vectorgallery.com#vector #vectorgallery #jjbrine #satan #art #jesuschrist, #manson #charlesmanson #alan #illuminati #artgallery #nycart #installationart #vectorian #666 #777 #888 #artnews #posthuman #posthumanart  (at Vector Gallery)

    vectorgallery:

    Http://www.vectorgallery.com#vector #vectorgallery #jjbrine #satan #art #jesuschrist, #manson #charlesmanson #alan #illuminati #artgallery #nycart #installationart #vectorian #666 #777 #888 #artnews #posthuman #posthumanart (at Vector Gallery)

  • draik:

    The Observer (2014) Plaster, Clay, Acrylic, Glass eye, 7 in x 2 1/2 (with base)

    The Heretic (2014) Plaster, Clay, Resin, Acrylic, 7 1/2 x 3 1/3 (with base)

    Golden Carcass (2014) Plaster soaked in dye, Clay, Resin, and Acrylic

    The Observer and The Heretic will be on display at The Bao Shoppe at 3066 Steinway St Astoria, NY 11103 Show runs from July 30th (with reception) til October 1st

    Golden Carcass will be worn as an exorcist headpiece to VECTOR Gallery’s opening night on August 1st. 154 East Broadway NYC, NY 10002

    (via vectorgallery)

  • vectorgallery:

    VECTOR GALLERY — OPENING

    At 8PM on Friday, August 1st We will celebrate the opening of the new VECTOR Gallery.  Bring your Body and Soul and The Devil will take care of the rest.

     Facebook Event Page

    (via vectorgallery)

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