Exhibition Views: Photos by François Fernandez / Villa Arson

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Unravelling the layers of the caste system in India by philosophically revisiting its core structure rather than following the conflicted one - intervening deep into its formation and deformation, decoding the idea of inheritance of tradition, and the monotony of everyday rituals and practices. Enter the scared space of a Brahmin house to experience, inquire, and challenge the notions from your own perspective. 

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Shailesh BR considers himself The Last Brahmin in his family. The source of his self-proclaimed title emerges from The Last Brahmin: Life and Reflections of a Modern-Day Sanksrit Pandit, a book authored by Rani Siva Sankara Sarma published in 2012, an autobiographical work positioned as a narrative of learning, scholarship, and the rigours of pedagogical discipline.

 

In the show, The Last Brahmin, Shailesh BR endeavours to unravel various layers of caste practice revisiting its core structure, decoding the idea of inheritance, formation and deformation. The Last Brahmin refers to ancient knowledge and practices but further interprets it by being present in it to find awareness of its meaning in today’s socio-political paradigm. Living away from home, and the holy land itself, will offer a spiritual exile - a time for deep meditation, introspection and implosion.

 

Though the spatial divisions and partitions are imaginary, the exhibition space, its objects and rituals are based on a traditional Brahminical house plan and its associated usage governed by the laws of Vastu Shastra (traditional system of architecture). For people of other castes, entry into a Brahmin's house continues to be restricted in the artist's village, which must create a curiosity amongst them about what the Brahmins look like inside. He intends to challenge these Brahminical mores of hospitality. “The position I maintain is that anyone can be a Brahmin simply by being exposed to certain systems of knowledge. Therefore, it must follow that anyone can enter a Brahmin’s house as well.” With an open invite to one and all to enter his space, The Last Brahmin desists caste based discrimination and opens the door to conversation.

 

As a show, The Last Brahmin will have a beginning and an end, becoming an experiential chapter within itself, whether of great revelations or … deeper confusions, time will tell. The Last Brahmin will take possession of his space and prepare it for an opening ceremony when an unrestricted world will be welcomed to enter, observe, inspect, participate, and exit anytime over 3 lunar cycles. “I have observed these cycles of rituals to have the pattern of Projecting > Maintaining > Suffocating with hypnotic monotony.” He will begin these days with Sandhavandanam, an elaborate prayer routine that includes reciting the Vedas, meditating and performing yoga-yaga. He intends to sustain a ritualistic fire through the period, even if it is the size of a candle flame. Through the days, depending on his "State of Mind" he will express himself through writings and drawings. He will embrace and maintain the Janeu - the holy thread, everyday. The Last Brahmin will mark the end of this observation period with a closing ceremony to culminate his learnings and interpretations of this chapter.

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The Last Brahmin intends to blur any perceived boundaries between anyone who comes to visit him. The artist shares personal memories to create friendship, empathy and familiarity by interweaving his life events into a visual narrative and incorporating religious and introspective elements alongside stimulating research material. Shailesh has been conceptually (d)evolving as The Last Brahmin with drawings, paintings, sculptures, found objects and machines. This chapter of spiritual exploration will also include artistic interventions with traditional mediums like palm leaves which were used to create manuscripts, examining the compulsive practice of puja (worship), and the antiquity of traditional daily-use objects and sacred Brahminical accessories.

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Curated by Vitarka Samuh