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Reality As Curated Suggestion

Interview by Jana Astanov.

Crown Prince of Hell JJ Brine is the founder, creator, and owner of Vector Gallery. Often called the founder of the PostHuman art movement, the artist’s multimedia “Shrines” tend to focus on religious and political themes. He can be found here: Website , Instagram, Twitter and Facebook

3:AM: How did it all start? What made you a performance artist?

JJ Brine: Eye have been performing since Eye was born. Everyone is a performance artist. We all have roles and we act them out accordingly. Admittedly, life changes when you start thinking in such terms.

3:AM: Why the name “JJ Brine”?

JJB: JJ is a twin of myself.

3:AM: You never seem to wink at your audience; or rather, you never seem to break out of character. Why is this?

JJB: Eye wink every single day.

3:AM: What made you a visual artist?

JJB: Eye guess it depends on what you call visual art. When Eye was a little kid Eye designed a board game, sort of like Candy Land, except with spaces that sent you to heaven and hell, and a purgatorial zone where you were stuck until you rolled a pre-assigned number. Eye used to hang signs in the halls of my high school “Announcing the immortal reign of The Committee For Public Safety” and Eye made short films depicting my friends as Eye asked them to rank different people and places and things on a scale from 1-10. And Eye painted from time to time. Eye didn’t think of any of this as “art” per se. Eye had a series of revelations about such terms only five years ago or so.

3:AM: Where there any people who influenced you in the choice of performance?

JJB: Choice? What choice? Everything Eye do is scripted from another dimension.

3:AM: What are the themes that you explore?

JJB: Authority and officialdom. Theological paradigms and syncretism. Religious groups and sectarianism. Immanence. Institutional critique. Politics. Reality as curated suggestion. Diplomacy and international relations. Metomphysics (a Vectorian term delineating the transition between the physical and the metaphysical). Linguistic relativity. Jurisprudence and legislation on perspectival relativity. Catharsis and absurdity. Globalization. Groupthink. Historical revisionism. Celebrity. Imperialism. Nationalism and nation-building. International Relations. Propaganda. Reification. Symbolic appropriation. Identitarianism. Demonic possession. Hierarchically entrenched incompetence. Classism. Political correctness. Time and space. Eschatology as the study of whatever Eye am doing at any given moment. Good and evil as aesthetic concerns. Hegemony and totalitarianism. Crime and punishment. Psychoanalysis. Legitimization of language and the processing and reprocessing of genre. Art and its place in the art world. Art as concept and concept as art and the universe as an art project.

3:AM: What are some of your notable past projects?

JJB: Eye make a lot of video art. For now, check out “22 Minutes Of Unnecessary Pain And Horror : A Meaningless Art Film”.

Eye also make music. My first project was an album called Codecracker by a band of the same name in which all of the members were me. Eye have a solo album called “President of Mozambique” and hordes of unreleased tracks which Eye really should put out on a compilation album someday. “Charles Manson Is Jesus Christ” was the first album by “The LaBiancas” my project with bandmate and crime partner Lena Marquise. We’re working on our second album, slowly, called “Jesus Christ Is Charles Manson.”

Eye did a series of installations outside of Vector called P.A.C. For The End of The World which included the Prescription For The End Of The World, Advertisement For The End Of The World, and Charity For The End Of The World as well as a standalone response piece, “World Peace.”

Eye was asked by Opening Ceremony to make a set for a shoot enshrining Gregg Araki’s “Doom Generation” which I called “Greeting Card For The Immortal Energies of The 666 Beast.”

Others include Baby Vector, PostHuman Mass Grave, Allah Buddha Manson, LEMNIVERSE, Satanic Suicide Hotline, and PostHuman Cocoon.

3:AM: Who are the most interesting artists nowadays?

JJB: My fellow Vectorians!

3:AM: You have a separate time zone at Vector Gallery, which is also its own country and religion, “the Vectorian religion” or “Vectorianism.” What is the year now, according to your calendar? And when did Vector begin?

JJB: It’s 2030 AD, the beginning of the neon decade. VECTOR Gallery began in 2017 AD, “The Dawn of PostHumanity.” That was in 2013 AD by the SHAY calendar.

3:AM: How many VECTORs have there been to date, and where were they?

JJB: Here’s a lineage of PostHuman Art temples.

Vector 1.0 : 2017-2020 AD (2013-2014 SHAY)
40 Clinton Street NYC

Vector 2.0 : 2021-2024 AD (2014-2015 SHAY)
154 East Broadway NYC

Vector 3.0 : 2025-2027 AD
(2015-2016 SHAY)
3217 Beverly Blvd Los Angeles

Vector 4.0 : 2028-2030 AD
(2016-2017 SHAY)
199 E 3rd Street NYC

Neostory :

Vector 5.0 : 2031-2033 AD
(2017-2018 SHAY)
? ? ?

3:AM: What are you working on currently?

JJB:Art Market” is coming up at Vector Gallery in early June . Eye am currently seeking a home for the fifth and possibly final incarnation of Vector Gallery. And Eye’m shooting a series of short films with members of The Vectorian Government.

3:AM: What will be the focus at the next Vector Gallery?

JJB: Jesus Christ. Seriously! And fake advertisements.

3:AM: What do you make of all of the comparisons between you and Andy Warhol?

JJB: Eye can see why people would draw parallels between the social scenes. The Factory was frequented by prominent, creative people. Vector is frequented by prominent, creative people as well. As for any common ground between me and Andy, Eye would point to one of his quotes as the greatest evidence of this : “Art is what you can get away with.”

3:AM: As a character in art history, what impact do you think you’ve had?

JJB: Eye think that people are moving into creating larger immersive worlds wherein spaces become sentient beings that are greater than the sum of their parts. Eye am pleased to have had a hand in this. That having been said, Eye hope so very much to terminate all lines of inquiry into such conjecture, if only by extending them infinitely in all directions. Eye am every character in the holy texts of Abraham, the author thereof — needless to say “needless” yet again. Eye hope to end more conversations than Eye begin.

ABOUT THE INTERVIEWER

Jana Astanov is a multidisciplinary artist currently living in New York. Her work includes photography, poetry, performance and new media. She started experimenting with writing poems in English in 2012, and since then has compiled three collections: Antidivine, Northern Grimoire and Sublunar.

Jana Astanov is on Twitter

First published in 3:AM Magazine: Sunday, May 28th, 2017.