Naeem mohaiemen

Naeem Mohaiemen (born 1969) is a writer, artist and technologist working in Dhaka and New York.
He was a founder of the artist-activist coalition Visible Collective, whose work in museums and galleries on hyphenated identities in an age of panic was included in the 2006 Whitney Biennial and was reviewed by Holland Cotter in New York Times and Ben Davis in ArtNet.
Other projects have looked at soft military coups and responding street protests (My Mobile Weighs A Ton, Dhaka Gallery Chitrak, ), creeping expansion of surveillance state (Otondro Prohori, Guarding Who Against What, Dhaka National Shilpakala Academy), the Indian partition and mute non-participants (Kazi in Nomansland, Dubai Third Line gallery), 1975 military coup and false-positive "foreign links" (Red Ant Motherchod Meet Starfish Nation, Scope Basel), Bangladesh's National Parliament and an architect's lonely death (Penn Station Kills Me, New York Exit Art gallery), and the European left's doomed romance with 1970s ultra-violence (Sartre Kommt Nacht Stammheim, Bucharest Pavillion; War of 666 Against Sixty Million, Finnish Museum of Photography).
Naeem also co-curated, with Lorenzo Fusi, "System Error: War Is A Force That Gives Us Meaning", a group show with 40 international artists, at Palazzo Papesse, Siena.
His publications include "Islamic Roots Of Hip-Hop" which was runner-up for Villem Flusser Theory Award and was cited by New York Times as "searing treatise". Other essays include "Mujtoba Ali: Amphibian Man" (Manifesta 7 European Biennial of Contemporary Art, Trentino), "Everybody Wants To Be Singapore" (La Buena Vida/Democracy, Carlos Motta, ICA, Philadelphia), "Adman Blues Become Artist Liberation" (Indian Highway, Hans Ulrich Obrist, Serpentine Gallery), "Beirut: Illusion of a Silver Porsche" (Men of Global South, Adam Jones ed., Zed Books), "Why Mahmud Can't be a Pilot" (Nobody Passes, Matt Bernstein ed., Seal Press), etc.<references/>

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