Naeem Mohaiemen is a writer and artist working in Dhaka and New York. He uses photography, video, and archives to research utopia/dystopia slippage and failed revolutions.
Naeem co-founded Visible Collective, a coalition of artist-activists investigating post 9/11 security panic (04-06; video featured at 04 Whitney Biennial). Other projects have looked at military coups ("My Mobile Weighs A Ton" at Dhaka Gallery Chitrak), Iranian democracy ("SMS Iran (after Gilles Peress)", with MW Blackburn, Art Dubai), surveillance state ("Otondro Prohori, Guarding Who?" at Dhaka National Shilpakala Academy), Indian partition ("Kazi in Nomansland" at Dubai Third Line), architecture and nationalism ("Penn Station Kills Me" at Exit Art), and the European left's doomed romance with ultra-violence ("Sartre Comes To Stammheim" at Bucharest Pavillion; "War of 666 Against Sixty Million" at Finnish Museum of Photography).
Naeem also works on activist projects in Bangladesh. He writes the chapter on religious and ethnic minorities in the Ain Salish Kendro Annual report (http://askbd.org), as well as on activist blogs (http://unheardvoice.net/author/naeem). Working between two countries, this work delineates contradictions between Bangladeshi Muslims in marginal migrant status in Europe, and majoritarian (and authoritarian) status inside Bangladesh. As part of this, "Muslims or Heretics: My Camera Can Lie" was screened for a human rights meeting at UK House of Lords.
Naeem's publications include "Fear of a Muslim Planet: Islamic Roots of Hip-Hop" (Sound Unbound, MIT Press), "Mujtoba Ali: Amphibian Man" (Manifesta 7 European Biennial, Trentino), "Everybody Wants To Be Singapore" (La Buena Vida, Carlos Motta), "Adman Blues Become Artist Liberation" (Indian Highway, Serpentine Gallery), "Beirut: Illusion of a Silver Porsche" (Men of Global South, Zed Books), "Why Mahmud Can't be a Pilot" (Nobody Passes, Seal Press), "No Exit" ("Asian American Superheroes" comic book).