Age, Biography and Wiki
Naeem Mohaiemen was born on 1969 in Bangladesh, is an A bangladeshi male writer. Discover Naeem Mohaiemen's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 55 years old?
| Popular As |
N/A |
| Occupation |
Filmmaker, Photographer, Writer, Academic, Visual Artist |
| Age |
55 years old |
| Zodiac Sign |
N/A |
| Born |
1969 |
| Birthday |
|
| Birthplace |
N/A |
| Nationality |
Bangladesh
|
We recommend you to check the complete list of Famous People born on .
He is a member of famous Filmmaker with the age 55 years old group.
Naeem Mohaiemen Height, Weight & Measurements
At 55 years old, Naeem Mohaiemen height not available right now. We will update Naeem Mohaiemen's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
| Physical Status |
| Height |
Not Available |
| Weight |
Not Available |
| Body Measurements |
Not Available |
| Eye Color |
Not Available |
| Hair Color |
Not Available |
Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
| Family |
| Parents |
Not Available |
| Wife |
Not Available |
| Sibling |
Not Available |
| Children |
Not Available |
Naeem Mohaiemen Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Naeem Mohaiemen worth at the age of 55 years old? Naeem Mohaiemen’s income source is mostly from being a successful Filmmaker. He is from Bangladesh. We have estimated Naeem Mohaiemen's net worth, money, salary, income, and assets.
| Net Worth in 2024 |
$1 Million - $5 Million |
| Salary in 2024 |
Under Review |
| Net Worth in 2023 |
Pending |
| Salary in 2023 |
Under Review |
| House |
Not Available |
| Cars |
Not Available |
| Source of Income |
Filmmaker |
Naeem Mohaiemen Social Network
Timeline
Naeem Mohaiemen (born 1969) uses film, photography, installation, and essays to research South Asia's postcolonial markers (the Indo-Pakistani War of 1947–1948 and the Bangladesh Liberation War of 1971).
His projects on the 1970s revolutionary left explores the role of misrecognition within global solidarity.
He is a member of the Institute of Contemporary Arts Independent Film Council.
Chapters from Mohaiemen's project on the 1970s revolutionary left ("The Young Man Was") have exhibited at the Mahmoud Darwish Museum, Gyantapas Abdur Razzaq Foundation, Bangladesh Shilpakala Academy, Bengal Foundation Shilpalay, Chobi Mela, Documenta 14, Kiran Nadar Museum, Museum of Modern Art New York, British Museum, Tate Britain, New Museum (New York), Frieze Art Fair (London), MUAC Mexico City, the 56th Venice Biennial, and the Lahore, Sharjah, Marrakech, and Eva (Ireland) Biennials.
Mohaiemen co-founded Visible Collective, a collective of New York-based artists and lawyers investigating post-9/11 security panic.
He was the primary critic of Dead Reckoning, a book by Sarmila Bose on the 1971 war of Bangladesh.
His response was cited by the BBC and published in Economic & Political Weekly ("Waiting for a real reckoning on 1971").
Bose responded to his remarks in the same periodical, followed by a rebuttal from Mohaiemen.
Essays on Bangladesh history include"Muktijuddho: Polyphony of the Ocean", "Accelerated Media and the 1971 Genocide", "Musee Guimet as Proxy Fight", "Mujtaba Ali: Amphibian Man" (The Rest of Now, Rana Dasgupta ed.), "Mujib Coat" (Bidoun journal), and "Everybody wants to be Singapore" (Carlos Motta’s The Good Life).
He wrote the chapter on religious and ethnic minorities in the Ain o Salish Kendro Annual Report for Bangladesh.
Essays on diaspora include "Known unknowns of the class war" (Margins, Asian American Writers Workshop), "The skin I'm in: Afro-Bengali solidarity and possible futures" (Margins, Asian American Writers Workshop), "Beirut, Silver Porsche Illusion" (Men of the Global South, Zed Books), "Why Mahmud Can’t Be a Pilot" (Nobody Passes: Rejecting the rules of Gender and Conformity, Seal Press), and "No Exit" (Asian Superhero Comics, New Press).
Essays on culture include "Islamic Roots of HipHop" (Sound Unbound, MIT Press; Runner Up for Villem Flusser Theory Award), "Adman blues become artist liberation" (Indian Highway, curated by Hans Ulrich Obrist) and "At the coed dance " (Art Lies: Death of the Curator).
He received BA in economics and concentration in history from Oberlin College in 1993.
He was a member of Oberlin College's Board of Trustees (1994–1996).
Prisoners of Shothik Itihash
Visible Collective: Disappeared in America (2002–2006)
Visible's work exhibited internationally, including the 2006 Whitney Biennial of American Art ("Wrong Gallery" room) and L'institut des cultures d'Islam in Paris.
His solo projects have looked at military coups ("My Mobile Weighs A Ton" at Dhaka Gallery Chitrak), surveillance ("Otondro Prohori, Guarding Who?", Chobi Mela V at Bangladesh Shilpakala Academy), Indian partition ("Kazi in Nomansland" at Dubai Third Line), architectural nationalism ("Penn Station Kills Me" at Exit Art), and dueling leftist and Islamist politics ("Live True Life or Die Trying" at Cue Art Foundation, New York).
Mohaiemen is author of Prisoners of Shothik Itihash.
He edited the anthologies Between Ashes and Hope: Chittagong Hill Tracts in the blind spot of Bangladesh nationalism, Collectives in atomised time,
Mohaiemen received a PhD in anthropology in 2019 from Columbia University and is an Associate Professor of Visual Arts there.
