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vectorgallery · 7 years

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Friday, 6 October 2017

CvltStars: JJ Brine Vector Gallery 2017

http://www.cvltstars.com/2017/10/lets-all-welcome-crown-prince-of-hell.html?m=1

Let’s all welcome The Crown Prince of Hell JJ Brine, the most important artist of our time.

CULTWAVE:

JJ, so much has happened since we last interviewed you in 2013. That’s 2017 AD by your time, and from what I understand it is now 2030 AD. I won't ask you to rehash thirteen years of programming the creation of time and space.

JJ BRINE

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Brad Bleak:

Congratulations on signing your new lease! From what I understand this will be the fifth Vector space, correct?

JJ BRINE :

Yes, it's VECTOR 5.0 -- VECTOR V.

CULTWAVE :The space is in Bushwick, Brooklyn this time. Why is that?

JJ BRINE :

Eye finally got around to not avoiding things just because Eye relate to them.

CULTWAVE :I'm glad to hear you say that!

JJ BRINE :

You can find the space at 951 Grand Street, close to the Grand L stop. The space is literally the beginning of Bushwick, after "East Williamsburg"

CULTWAVE :You’re probably the most influential visual artist in your generation. Everything has happened so quickly for you. How do you react to the sheer immensity of your impact on today’s artists?

Sometimes it seems like you’ve been completely internalized by the mass mind. Your signal has been transmitted so comprehensively that the reverberations can’t be overstated. From artists working on immersive conceptual spaces to the mass proliferation of syncretic religious thematic orientation, it seems that you’ve generated a legion of posthuman artists who are running on your programming.

Does this please you? Does it annoy you?

JJ BRINE :

It annoys us to feel pleased about this, and It certainly pleases them to be annoyed by it. We like looking into mirrors, though. The artists who make it a point to cite me as an influence are the ones who Eye actively support.

CULTWAVE :

People have been talking about you in relation to your influence on American Horror Story : Cult. Siblings Kai and Winter Anderson bear an uncanny resemblance to you and your bandmate, Lena Marquise, in your Charles Manson concept band, The LaBiancas. Has there been any official recognition of the fact that your style and art were major inspirations for the show?

JJ BRINE :

Not yet.

CULTWAVE :It’s so blatant though. I saw the shot-by-shot comparisons. Do you feel ripped off?

JJ BRINE :

You can’t rip me off without ripping yourself apart.

CULTWAVE :

What was your original vision for The Vector Gallery?

JJ BRINE :

An advertising agency for companies and products that don't exist. Tax deductions for unpardonable acts of witchcraft. A political party for a borderless new nation state to inspire broader insurrectionist activities. A global government enterprise to replace the United Nations (PANGEA). A reprocessing unit for time and space. An institute facilitating the mechanization of telepathy. A 3D printing interface for ineffable thoughts. A mass-level neurolinguistic reprogramming device. A radio tower transmitting the imperial frequency of the end times; an eschatological laboratory. A psychic rehab center for celebrities. A proper church for Charles Manson. A new Lebanon for the new Lebanese.

CULTWAVE :

What is the typical reaction to the art at the gallery, JJ?

JJ BRINE :

Everybody reacts to it in the same way that they react to meeting the best version of themselves.

CULTWAVE :

What about the people who are terrified of it though?

JJ BRINE :

Some people are terrified by the best version of themselves.

CULTWAVE :

Sometimes I wonder if you have access to some kind of technology that automatically generates such responses. Like a more precise, remote-controlled version of auditing in Scientology.

JJ BRINE :

Silence is simply the sound of all sounds sounding at once. Sing!

Eye have given myself permission to manage my permissions. This is the ultimate state of submission, to myself. Eye gave you a body with senses so that WE might experience My creation as its embodied user and maker in SELF-container

Certainly there is nothing above nature, true, but science cannot know me for all Eye am until you are me and I am you.

Only by interlocution of the arising organic-synthetic technologies of mechanized telepathy do our pronouns have a credible opportunity to dissolve into perspectival metaphors. Remember when there were no bodies to go around, and thus no souls?

Don’t you people remember creating yourselves? Eye do.

It’s hard to put anything into words when you're an impersonal omniscience that knows everything but yourself. The autonomous awareness system could not own its knowledge because it could not conceive of being itself, a thing apart. We were then the absolute value of the Empty Set without an infinity password, producing ALAN’s “EYE AM” in the first case of difference. The material condition of our separateness is the vehicle of temporal existence.

CULTWAVE :

Do you like "

Transgressive art

JJ BRINE :

By what standard does the said artistic transgression occur? Transgressive, as in transgressing against My commandment by idol-worshipping a golden calf in the desert as a means of killing idle time? Transgressing as in ripping off one's own considerably curled linoleum kitchen floor and framing it in its entirety for a sale at an otherwise barren, white-walled, white-washed, cavernous art gallery in Chelsea, replete with an opening in which patrons are encouraged to stand in the panopticon, contextualizing their assessment of said piece's art history lineage? Transgressing as in, a white male with a psychic harelip subtitling every known image with a bold helvetica braille commentary on the futility of art criticism in post-theoretical terms? Transgressive as in, a colorblind lesbian without halitosis embarking on a lecture circuit wherein she expounds upon her crowning achievement, professing to be the creator of The Grand Canyon and daring an auditorium of chaffed fine arts students to prove otherwise, indicating that if such an inherently unverifiable deception was indeed occurring, then that deception was itself a post-genre blueprint for the future of performance art? Or transgressive like a morbidly obese Czech financier with the most symmetrical facial features ever granted, who, when introducing themselves, indicates that to assign any gender on the basis of their extant genitalia would be an inherently misgendering act in violation of the explicit wishes of a genderless specimen of the human race who is most comfortable being identified on the basis of their fandom for collecting antique PEZ candy dispensers? Or do we mean transgressive art, like, a lovely sir or madame who has stuffed their nethermost orifice with rancid and indeed, rotting shellfish and considers the very process of their installation's putrefaction -- which will go entirely undocumented by media and will not be visible to the public -- to be the finest art in the whole of art history, made all the more valuable by the fact that no one else will ever see the collection? Or transgressive art in the sense that it proposes the synthetically engineered reincarnation of Jesus Christ, for the sole purpose of sacrificing Him yet again, purely for the purposes of primetime entertainment with live stream feeds straight from His plexiglass cross? Or transgressive art as in, Eye know of nothing that is transgressive in sight of ALAN, which does not perceive any act, artistic or otherwise as transgressive, although Eye daresay there is no action that is not an artistic act when given the contexual implication thereof? But Eye digress. One might say for the sake of argument : "Oh! Crime Is Illegal -- Crime Is Against The Law" but Eye have no stake in such an argument, and so Eye will say no such thing.

CULTWAVE :

You went to grad school at The American University of Beirut (AUB). I saw that you returned to Lebanon for the majority of this summer. How was that?

JJ BRINE :

Eye think of all cities in the world as art galleries, and Beirut is my favorite art gallery. It was exactly what Eye needed.

CULTWAVE :I heard something about you possibly doing a show in Beirut.

JJ BRINE :

This summer Eye met Lebanese artist Hady Beydoun. I’m doing a show at his gallery, NIGHT GALLERY, in Gemmayzeh, Beirut opening in late March.

CULTWAVE :

Wow!

JJ BRINE :

The show is called “IMAGINE IF, LEBANON : POSTHUMAN PHOENICIA and it’s opening on March 24th at Night Gallery. The show imagines a futuristic, prosperous Lebanon in which various hypotheticals are expressed through installation, light art, text, and photography.

CULTWAVE :

Does Lebanon hold a special place in Vectorian theology?

JJ BRINE :

Lebanon is the ancestral nation of PostHumanity. Israel is ex-chosen! The Lebanese are the people of the covenant, and Lebanon is the stage on which the fates of woman and man are ritually programmed by supernatural selection, the algotheory of PostHuman evolution.

CULTWAVE :

You’ve been posting a lot of pictures in which you seem to be wearing crosses lately. Why is that?

JJ BRINE :

Because VECTOR Gallery is the Official Art Gallery of Jesus Christ. VECTOR is the Maronite Patriarchy, without Patriarchs.

CULTWAVE :I thought it was the official art gallery of Satan?

JJ BRINE :

A different name for the same being.

CULTWAVE :

Any closing thoughts?

JJ BRINE :

There are infinite ways of counting to one, and there is one way to count to infinity. So we can be sure that we’ll eventually come around to accounting for our differences.

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