Last time we spoke to JJ Brine, the man behind “the official art gallery of Satan,” he told us that Donald J. Trump was “pure poison.” That was in August, right after the Republican National Convention. JJ, the self-declared “Crown Prince of Hell,” refused to say much more about the GOP candidate, even though Brine had his own political agenda: He had just tabled a plan to bring Vector Gallery to Washington D.C. in order to “‘program” the presidential elections and cause “systemic shifts in the geopolitical configuration of power in the Middle East.”
Friday September 16 to Thursday September 22 at IFC Center: $14
This film follows the illustrious but fraught career of Sergei Polunin, aka the “James Dean of the ballet world,” and his progress from child prodigy to a top-dancer wunderkind. I mean, you couldn’t really call anyone the James Dean of interpretive dance, because that would just be a dumb joke. It actually makes sense with Polunin though, as a figure who’s equally as intense, if not more so, than ballet itself, a sport that demands self-torture of its devotees, legit from the very first step.
As is JJ Brine’s way, he’s hesitant to speak about the past. Even the very recent past, when Brine– Satanic gallerist, practitioner of “Post-human” art, founder of the Vectorian and its “Crown Prince of Hell”– took off for Los Angeles to start fresh. “I don’t even know if it’s relevant to recall what happened in Los Angeles,” he said. “This is now, that was then. I’m doing what I’m doing now.”
Now that Brine has captured the attention of the art world, conservative conspiracy theorists, gossip columnists, even Dow Jones reporters, it’s much easier to track the artist’s more recent trajectory, even if he’s reluctant to go into too many details about the non-present.
Put on your Masonic robes and pick up your scythes (unsharpened, please). A slew of experimental musicians and out-there visual artists will gather at Microscope Gallery this Friday to perform Satanic rites amidst heavy drone music and beelzebubian projections.
“Ordinary morality is only for ordinary people,” Aleister Crowley once said. That maxim echoes inside the walls of a new exhibit at 80WSE, Language of the Birds: Occult and Art. Even now, when dabbling in the occult has become morally ambiguous rather than universally derided, the work shown at NYU Steinhardt’s gallery is far from ordinary. Spanning the beginning of the last century to the present day, its authors range from avant-garde filmmakers (Kenneth Anger), to spiritual philosophers (Aleister Crowley), to industrial music makers (Genesis Breyer P-Orridge), and “just” plain artists (Kiki Smith). Somehow these varied participants share a similar worldview, which they’ve communicated (at various points in time) through symbols and talismans that have remained fairly static throughout.
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?”
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