Vector Gallery occupies a bizarre head space. The physical space it inhabits has recently made a drastic change from its prominent spot in New York City’s Lower East Side to a new location on Los Angeles’ Beverly Boulevard. The property on which Vector Gallery operates is in truth less significant to the gallery’s mandate than the psychological space that is being curated. Vector Gallery is a performance of a gallery, and in that sense a posthuman reinvention of what a gallery could constitute when facilitated by performance artists with their own distinct ideological program.
The Government of The Satanic State of Vector, as the art project is formally referred to, has made more than a few heads turn for it’s satanic affiliations, its cult following of celebrities, and it’s religiously updated Tumblr. In fact, it boasts being it’s own religion and it’s own country. Be that as it may, this counter-history is part of Vector’s lawless artistic practice of rewriting the limitations of borders: be that the delineations of chronological time, or national borders, or even the physical limits of the human body and the space it occupies.
As listed on their official Tumblr, The Satanic State seceded themselves from the United States on November 8, 2017. Founder/Owner/Resident performance artist J.J. Brine’s deconstruction of linear time positioned the exact location of this secession as irrelevant. That is to say, that the relocation of the Vector Gallery to L.A. furthers the post-human onus of the project wherein the limits of human body are challenged through an upheaval of how they occupy space and time.
Essentially, Vector Gallery’s performative mandate, is enraptured in a post-human belief system that catechised the differences between the human and the non-human, physical space and cyberspace, the permanent and the temporal. In truth, most people will visit the Satanic Government of Vector through Tumblr than will receive an A-list invite from Brine to the notoriously closed gallery. Cyber-space embodies the content of this project and the art performance that is Vector Galley adopts a Warhol-esque sensationalism that springs from the cult of the celebrity, however, the sixties underground of the Silver Factory can’t be recreated with extensive social media programming, no matter how much tin foil adorns the gallery walls.
Text by JERA MACPHERSON